CJn  Corcoran  (Sallcrp  of  &rt 


CATALOGUE  OF 

CASTS,  MARBLES 
BRONZES,  Etc. 


WASHINGTON,  D.  C. 
1910 


Digitized  by  the  Internet  Archive 
in  2016 


https://archive.org/details/catalogueofcastsOOcorc 


Corcoran  Gallery  of  Art 


Wfyt  Corcoran  (Sailer^  of  &rt 


CATALOGUE  OF 

CASTS,  MARBLES 
BRONZES,  Etc. 


WASHINGTON,  D.  C. 
1910 


63d  Edition. 

3,000  of  the  new  revised  edition. 
In  all,  231,000. 


A.  W.  Elson  & Company 


Boston 


Board  of  Trustees 


Frederick  B.  McGuire 
Charles  C.  Glover 
William  Corcoran  Eustis 
Thomas  Hyde 


Bernard  R.  Green 
John  M.  Wilson 
Arthur  Jeffrey  Parsons 
R.  Ross  Perry 


Victor  G.  Fischer 


President  and  Treasurer 
Charles  C.  Glover 

Vice-President 
William  C.  Eustis 

Secretary  and  Director 

Frederick  B.  McGuire 

Assistant  Director 
C.  Powell  Minnigerode 

Janitor 

Benjamin  V.  Darrell 


Committees 

C.  C.  Glover 

On  Finance 
Thomas  Hyde 

John  M.  Wilson 

Bernard  R.  Green 

On  the  Building 
John  M.  Wilson 

Victor  G.  Fischer 

F.  B.  McGuire 

On  Works  of  Art 
C.  C.  Glover 

A.  J.  Parsons 

R.  Ross  Perry 

On  Legislation 
A.  J.  Parsons 

William  C.  Eustis 

On  Accounts 

Thomas  Hyde  John  M.  Wilson 


3 


Note  to  the  Public 


THE  history  of  The  Corcoran  Gallery  of  Art,  and  also  a brief 
sketch  setting  forth  the  necessity  of  erecting  the  present  build- 
ing, together  with  a description  of  the  building,  are  incorpo- 
rated in  the  Catalogue  of  Paintings,  which  is  for  sale  by  the  janitor  at 
the  main  entrance  to  the  building. 

With  the  exception  of  the  marble  statue  entitled  “The  Last  Days 
of  Napoleon  I,”  executed  by  Vincenzo  Vela,  which  stands  in  the  main 
atrium  on  the  second  floor,  and  of  the  casts  on  the  main  stairway,  all 
of  the  works  described  in  this  catalogue  are  exhibited  on  the  first  or 
main  floor  of  the  building. 

For  the  convenience  of  the  public  it  may  be  stated  that  the  casts 
from  the  Antique  sculpture  are  exhibited  in  the  lower  or  south  end  of 
the  main  atrium,  while  those  from  the  Renaissance  are  placed  in  the 
north  end. 

The  dimensions  of  all  the  rooms  and  galleries  are  given  on  the  ac- 
companying floor  plans. 

The  gallery  is  closed  to  the  public  every  summer,  for  necessary 
renovation,  etc.,  from  the  first  of  July  to  the  first  of  October.  It  is  open 
on  other  days  as  follows: 

On  Sundays,  from  November  1 to  July  1,  from  1.30  to  4.30  p.m. 
On  Mondays,  from  12  m.  to  4 p.m. 

On  Tuesdays,  Wednesdays,  Thursdays,  Fridays,  and  Satur- 
days, from  9 a.m.  to  4 p.m. 

On  Christmas  Day  it  is  closed  to  the  public,  but  on  other  public 
holidays  it  is  open  from  10  a.m.  to  2 p.m. 

On  public  holidays  and  Tuesdays,  Thursdays,  Saturdays,  and 
Sundays  the  admission  is  free. 

On  Mondays,  Wednesdays,  and  Fridays  an  admittance  fee  of 
25  cents  is  charged. 

For  information  concerning  Copying,  Art  Education,  etc.,  see  Rules 
and  Regulations,  separately  printed,  to  be  had  by  application  to  the 
Principal  of  the  Art  School. 

Photographs  of  the  principal  paintings  and  other  works  of  art  in  the 
Gallery  are  for  sale  at  the  door. 


5 


PtJMOFFSfISTSTOBY 


IPLAiM  • 0P*SEC08Sli>*ST0W 


Plate  I 


T he  Parthenon 


A.  Metopes  B.  Pediment  C.  Frieze 


Casts  from  Antique  Sculpture 
THE  PARTHENON 

Plate  7,  opposite  page 

The  Parthenon,  a Doric  temple  of  white  marble,  erected  in  honor  of 
Minerva  (Athene  Polias),  the  tutelar  deity  of  Athens,  was  completed 
in  the  year  438  B.  C.,  sixteen  years  after  its  commencement.  The 
temple  was  built  during  the  administration  of  Pericles,  who  employed 
Callicrates  and  Ictinus  as  architects  under  the  direction  of  Phidias, 
to  whom  he  entrusted  all  works  of  magnificence  and  who  embellished 
it  with  statues  and  bas-reliefs.  It  was  227  feet  long,  101  wide,  and  65 
in  height,  with  8 pillars  front  and  back,  and  17  on  each  side;  these 
pillars  were  42  feet  high  and  17|  in  circumference,  the  distance  be- 
tween them  being  7 feet  4 inches. 

The  Frieze  of  the  Parthenon 

Plate  7,  C 

This  frieze,  in  low  relief,  ran  around  the  top  of  the  inner  faces  of  the 
colonnade  and  outer  wall  of  the  cella  of  the  temple,  yet  within  and  be- 
low the  roof,  and  39  feet  above  the  pavement. 

As  the  entablature  above  the  outer  columns  descended  4 feet  9 inches 
below  the  lower  edge  of  the  frieze  as  it  was  placed  on  the  wall,  the  frieze 
could  only  receive  its  light  diffused  between  the  columns  and  reflected 
upwards  from  the  pavement  of  the  colonnade.  Owing  to  this  circum- 
stance, as  well  as  to  the  peculiar  position  of  the  spectator  when  looking 
at  the  frieze,  standing  within  the  columns,  the  artist  was  forced  to  keep 
his  relief  very  flat,  so  that  it  only  rises  If  inches  from  the  background, 
and  at  the  highest  point  only  2j  inches;  moreover,  it  is  owing  to  these 
circumstances  that  the  relief  was  kept  lowest  in  the  lower  parts  of  the 
frieze  and  highest  in  the  upper  parts,  where  even  sometimes  the  back- 
ground is  sunk  to  gain  a bolder  relief.  The  frieze  was  over  522  feet  in 
length,  running  around  the  four  sides  of  the  temple. 

Around  the  cornice  of  the  south  end  of  the  atrium  first  story,  or 
Statuary  Hall  of  this  Gallery,  are  placed  194  feet  of  casts  from  the  original 
marble  slabs  of  this  frieze.  The  reliefs  commencing  with  that  nearest 
to,  and  south  of,  the  main  entrance,  presenting  an  unbroken  line  of 
young  horsemen  sweeping  along,  with  here  and  there  a dismounted 
group,  varying  the  action  of  the  cavalcade,  are  arranged  precisely  as 
the  originals  stood  in  the  Parthenon.  Following  these,  and  extending 

9 


10 


Casts  from  Antique  Sculpture 


to  the  main  staircase  on  the  west,  are  broken  groups  representing 
seated  deities  (see  Nos.  1001  to  1009),  virgins  with  sacrificial  oxen,  and 
charioteers. 

1001 

ZEUS 

Frieze  of  the  Parthenon 
1002 
HERA 

Frieze  of  the  Parthenon 

1003 
IRIS 

Frieze  of  the  Parthenon 

1004 
ARES 

Frieze  of  the  Parthenon 

1005 

ARTEMIS 

Frieze  of  the  Parthenon 

1006 

APOLLO 

Frieze  of  the  Parthenon 

1007 

HERMES 

Frieze  of  the  Parthenon 

1008 

ATHENE 

Frieze  of  the  Parthenon 


1009 

HEPHAISTOS 
Frieze  of  the  Parthenon 


Plate  II 


Casts  from  Antique  Sculpture 


U 


The  Western  Pediment 

Plate  II  y page  11 

The  myth  here  represented  is  as  follows: 

Athene  and  Poseidon  both  claim  the  patronage  over  the  land  of 
Attica.  Their  claims  are  to  be  decided  by  some  token,  symbol,  or  sign 
of  their  power;  and,  according  to  various  traditions,  the  judges  who 
are  to  decide  which  of  these  tokens  contains  the  weightiest  claim  to  the 
patronage  are  either  the  Olympian  gods  or  Kekrops,  the  hero-king  of 
Athens,  with  his  family,  or  the  Attic  people  themselves. 

There  is  little  doubt  concerning  the  figures  at  the  extreme  angles  of 
the  pediment,  which  are  generally  admitted  to  be : on  the  left,  the  river 
god  Kephissos,  No.  7 1.,  with  a nymph  not  extant,  and  at  the  right  angle 
the  nymph  (Kallirrhoe),  No.  7 r.,  with  the  river  Ilissos,  No.  6 r.,  crouch- 
ing beside  her.  The  real  doubt  exists  with  regard  to  the  remaining 
figures  at  either  side.  No.  1 on  the  left  is  called  by  Michaelis  and  others 
Kore,  holding  the  boy  Iakchos  (No.  2),  who  is  turning  towards  the  seat- 
ed female  figure  Demeter  (No.  3),  while  Nos.  4 and  5 are  called  in  the 
British  Museum  Pandrosos  and  Kekrops,  and  by  Michaelis,  Hygieia 
and  Asklepios.  The  corresponding  figures  on  the  other  side  are  called 
(No.  1)  Leukothea,  with  Palsemon  and  Eros  in  her  arms,  (No.  2) 
Aphrodite  in  the  lap  of  (No.  3)  Thalassa,  No.  4 being  a Nereid.  The 
other  system  of  interpretation,  first  formed  by  Brunn,  makes  all  the 
figures  on  either  side  of  Nike  and  Amphi trite  partake  of  the  nature  of 
the  river  gods  at  either  angle,  considering  them  personifications  of 
Attic  locality.  Of  this  pedimental  group,  fortunately  drawn  by  Carrey 
in  1674,  before  the  destruction  of  the  Parthenon,  only  more  or  less 
fragmentary  remains  of  Athene,  Poseidon,  Hermes,  Amphitrite,  per- 
haps Nike,  and  of  1,  6,  and  7 r.,  and  4,  5,  and  6 1.  are  extant  in  the 
British  Museum. 

1010 

RIVER  GOD,  KEPHISSOS 

Original  Elgin  Marble  (440  B.  C.),  British  Museum 

H.,  2 ft.  8 in.;  L.,  6 ft.  4 in. 

This  figure  stood  in  the  north  angle  of  the  western  pediment  of  the 
Parthenon,  and  is  represented  as  raising  himself  on  an  arm  from  a 
recumbent  position,  to  listen  to  the  announcement  of  the  triumph  of 
Minerva  over  Neptune. 

“This,  one  of  the  most  famous  specimens  of  Greek  sculpture  extant, 
shows  the  combination  of  perfect  modelling  and  grandeur  which  marked 
the  art  of  Phidias,  and  displays  the  care  which  was  bestowed  even  upon 
works  of  mere  decoration.  Note,  for  instance,  the  remains  of  finish 
even  on  the  back  of  the  statue,  which  could  never  be  seen  in  situ” 

Note. — The  measurements  of  the  casts  give  the  height  of  the  statues 
and  busts  exclusive  of  their  plinths  or  bases. 


Casts  from  Antique  Sculpture 


13 


The  Eastern  Pediment 

Plate  II y page  11 

The  subject  represented  in  this  pediment  was,  according  to  Pausanias, 
the  birth  of  Athene.  We  cannot  believe  that  the  moment  represented 
was  that  of  the  actual  birth  of  Athene  out  of  the  head  of  Zeus,  an 
incident  sometimes  quaintly  rendered  on  archaic  vases;  nor  can  we 
believe  that  it  was  that  immediately  preceding  the  birth.  It  must  have 
been  the  scene  immediately  succeeding  the  birth,  when  Athene  stands 
fully  armed  before  her  father  and  the  admiring  gods,  as  described  in 
the  Homeric  hymn  to  Athene. 

In  Carrey’s  time  the  centre  of  the  pediment  was  no  longer  extant, 
and  he  could  only  give  the  figures  at  the  wings  as  here  rendered  in  Plate 
II,  page  11;  but  there  can  be  little  doubt  that  the  centre  of  the  pedi- 
ment was  occupied  by  Zeus  and  Athene,  with  the  chief  Olympian  gods 
and  goddesses  to  their  left  and  right. 

In  this  plate  all  the  extant  figures  from  this  pediment,  now  in  the 
British  Museum,  are  given,  with  the  exception  of  a nude  male  torso 
at  Athens  (Michaelis,  VI,  H.  Guide  Brit.  Mus.,  Prometheus  or 
Hephaistos,  p.  16),  and  the  torso  of  Nike  (?),  which  has  before  been 
ascribed  to  the  western  pediment.  No  1 1.,  the  draped  female  figure 
rapidly  striding  towards  the  angle,  is  admitted  by  all  to  represent  Iris, 
the  fleet  messenger  of  the  gods,  bringing  the  news  of  the  great  event 
from  the  dwelling  of  the  gods  to  the  figures  seated  in  the  angle.  In 
the  case  of  this,  as  in  that  of  the  western  pediment,  there  are  two  main 
groups  of  interpreters : those,  namely,  who  see  in  the  figures  of  the  angles 
gods  or  heroes,  and  those  who  consider  them  to  form  subdivisions  of 
the  composition  as  a whole,  clearly  to  be  distinguished  from  the  cen- 
tral group,  and  to  be  personifications  of  nature  in  keeping  with  the 
character  of  the  chariot-driving  figures  at  the  extreme  angles,  which 
are  admitted  by  all  to  represent  the  sun  god  and  the  moon  goddess. 

Accordingly,  the  seated  figures,  2 and  3 1.,  would  be,  after  Brunn,  the 
two  Horse  who  watch  the  gates  of  Olympus;  the  reclining  nude  male 
figure,  4 1.,  would  be  the  mountain  god  Olympus;  while  the  hitherto 
generally  accepted  interpretation  for  the  two  female  figures  has  been 
Demeter  and  Persephone,  and  for  the  male  figure,  Theseus,  Dionysos, 
or  Herakles.  Nos.  5 and  6 1.  are  universally  admitted  to  represent 
Helios,  the  sun  god,  driving  his  chariot. 

No.  2 r.  represents  Hestia,  the  goddess  of  the  human  hearth,  while 
the  female  figure  4 r.,  reclining  on  the  knees  of  her  seated  companion 
3 r.,  is  the  sea,  Thalassa,  resting  on  the  lap  of  the  earth,  Gaia.  The 
current  names  given  to  these  three  figures  are  the  Three  Fates,  who 
were  supposed  to  be  present  at  the  birth,  and  are  thus  figured  on  the 
late  reliefs  in  Madrid  and  Dresden;  5 and  6 r.  are  admitted  to  represent 
Selene,  the  moon  goddess,  driving  her  chariot. 

In  the  western  pediment  the  myth  represented  shows  Athene  in 


14 


Casts  from,  Antique  Sculpture 


her  local  association  with  Athens;  while  in  the  eastern  pediment  the 
birth  of  Athene  from  the  head  of  Zeus  has  an  universal  association 
with  mankind.  The  one  scene  is  local,  the  other  cosmical,  as  the  river 
gods  with  nymphs  framing  one  scene  and  the  sun  and  moon  framing 
the  other  certainly  indicate,  and  as  the  remaining  figures  'probably  do. 

It  must  be  remarked  that  the  prevailing  difference  of  opinion  in 
assigning  definite  names  to  the  single  figures  of  these  pediments  is  due 
not  only  to  the  fact  that  we  have  no  passage  in  ancient  authors  men- 
tioning them,  but  that  the  fragmentary  condition  of  the  statues  has  not 
even  supplied  us  with  the  symbols  which  they  held  in  their  hands,  and 
which  made  their  meaning  clear  to  every  child  in  ancient  Athens. 

The  Parthenon  appears  to  have  remained  in  its  original  condition 
until  the  5th  or  6th  century  of  our  era,  when  it  was  converted  into  a 
Christian  church — at  first  of  St.  Sophia,  then  of  the  Virgin  Mary.  The 
alterations  necessitated  by  its  new  dedication  chiefly  concerned  the  in- 
terior of  the  temple,  and  had  little  effect  upon  the  sculptured  decora- 
tions. The  entrance  was  transplanted  from  the  east  to  the  west,  an 
apse  was  built  at  the  east  end,  and  two  niches  were  placed  in  the  tym- 
panum of  the  western  pediment.  At  the  beginning  of  the  13th  century 
it  was  converted  from  a Greek  orthodox  into  a Roman  Catholic  church, 
and  in  1458  it  was  turned  into  a Turkish  mosque,  a minaret  being 
added  to  the  west  end  of  the  south  wall.  On  the  whole,  the  building 
and  the  sculptured  decorations  remained  comparatively  intact  until 
the  latter  part  of  the  17th  century,  when  all  nationalities  combined  in 
destroying  it.  In  September,  1687,  during  the  war  between  the  Republic 
of  Venice  and  Turkey,  the  Venetian  general,  Francisco  Morosini, 
with  an  army  chiefly  of  mercenary  troops  of  all  nationalities,  under  the 
immediate  command  of  Count  Koenigsmark,  a Swedish  general,  laid 
siege  to  Athens,  and  bombarded  the  Acropolis,  whither  the  enemy  had 
withdrawn.  Upon  hearing  that  the  Turks  had  stored  powder  in  the 
Parthenon,  on  the  26th  of  September,  1687,  at  seven  o’clock  in  the 
evening,  a German  lieutenant  succeeded  in  sending  through  the  roof  of 
the  Parthenon  a shell,  which  ignited  the  powder  and  rent  the  great 
temple  asunder,  heaping  fragments  on  either  side.  In  the  year  1800, 
Lord  Elgin,  then  British  ambassador  to  the  Porte,  having  received 
permission,  began  his  work  of  carrying  off  the  Parthenon  marbles. 
After  years  of  the  greatest  vicissitudes,  occasioning  a vast  expenditure 
of  money  on  the  part  of  Lord  Elgin,  the  sculptures  finally  reached 
England,  in  1812,  when,  being  forced  to  sell  the  collection,  he  offered 
it  to  the  nation  for  the  sum  he  had  actually  expended.  At  last  it  was 
purchased  for  £35,000,  a sum  less  than  half  it  cost  him,  and  now  forms 
the  chief  treasure  of  the  British  Museum. 

The  following  ten  casts  are  arranged  as  nearly  as  possible  in  the 
position  occupied  by  the  original  marbles  in  the  east  pediment  of  the 
Parthenon: 


Casts  from  Antique  Sculpture 


15 


1011 

HELIOS,  WITH  HIS  HORSES 
Original  Elgin  Marble  (440  B.  C.),  British  Museum 

At  the  extreme  angles  of  the  pediment  the  neck,  arm,  and  shoulder 
of  Helios,  the  sun  god,  rise  out  of  the  sea,  and  before  him  the  heads 
and  necks  of  his  horses  are  advancing  towards  the  centre  (but  one  of 
the  three  horses  is  here  represented).  Though  there  are  but  small  por- 
tions of  the  figures  of  horses  and  man,  the  bold  upward  motion  is 
completely  indicated,  and  the  artist  clearly  suggests  that  the  scenery 
presented  in  the  pediment  takes  its  beginning  at  this  side  and  concludes 
at  the  other. 

1012 

OLYMPUS,  commonly  called  THESEUS 

Original  Elgin  Marble  (440  B.  C.),  British  Museum 

H.,  4 ft.  2f  in.;  L.,  5 ft.  9 in. 

The  original  reclined  in  an  angle  of  the  east  pediment,  and  is  uni- 
versally acknowledged,  alike  by  artists  and  by  the  outside  world,  to 
represent  the  highest  stage  of  broad  and  monumental  art  in  the  repre- 
sentation of  the  nude  male  figure. 


1013 

TWO  HORiE,  commonly  called  CERES  (or  DEMETER)  and 
PROSERPINA  (or  PERSEPHONE) 

Original  Elgin  Marble  (440  B.  C.),  British  Museum  H.,  4 ft.  9 in. 

Guardians  of  the  gates  leading  to  the  dwellings  of  the  gods.  The 
first  of  these  two  figures,  in  her  more  erect  attitude  and  gesture,  mani- 
fests the  attention  she  is  giving  to  the  news  brought  by  the  messenger 
of  the  gods,  Iris;  the  other  figure,  leaning  on  her  shoulder,  has  not  yet 
completely  realized  the  importance  of  the  scene  enacted  in  the  centre. 
Both  these  figures  manifest  in  a high  degree  the  characteristics  of 
Phidiac  art. 

1014 
IRIS 

Original  Elgin  Marble  (440  B.  C.),  British  Museum  H.,  5 ft.  3 in. 

The  fleet  messenger  of  the  gods,  rapidly  descending  from  their  abode 
to  proclaim  the  birth  of  Athene,  is  here  represented  as  a youthful 
female  figure,  clad  in  the  Doric  chiton  open  at  the  sides.  A short 
mantle  is  flapping  back  in  the  wind,  owing  to  her  rapid  motion,  the 
indication  of  which  is  powerfully  expressed  in  the  whole  composition. 


16 


Casts  from  Antique  Sculpture 


1015 

HESTIA 

Original  Elgin  Marble,  British  Museum  H.,  4 ft.  7 in. 

The  common  view  makes  her  one  of  the  Three  Fates.  The  left  arm 
of  this  figure  was  probably  raised  behind  the  shoulder  of  Gaia  and  there 
held  a sceptre.  The  simple  and  solemn  attitude  of  this  figure  would  well 
correspond  with  the  nature  of  Hestia. 

1016 

THALASSA  and  GAIA,  commonly  called  TWO  OF  THE  THREE 

FATES 

Original  Elgin  Marble  (440  B.  C.),  British  Museum 

H.,  4 ft.  11  in.;  L.,  7 ft.  7 in. 

The  original  occupied  a position  in  the  angle  of  the  eastern  pediment 
opposite  the  Olympus.  “Here  the  perfection  of  the  modelling  of  the 
texture  of  drapery  and  the  nude  has  been  attained,  and  this  not  at  the 
cost  of  the  general  breadth  of  composition.  As  regards  the  varied 
treatment  of  drapery,  notice  the  folds  of  the  cloth  upon  which  Thalassa 
is  reclining,  with  its  broader  surfaces,  the  more  elaborate  folding  of  the 
upper  garment  round  the  legs,  and  the  varied  play  of  smaller  creases  of 
the  undergarment  as  it  covers  the  breast,  against  the  nude  texture  of 
which  it  is  set  off  in  bold  contrast.” 

1017 

HEAD  OF  ONE  OF  THE  HORSES  OF  SELENE 
Original  Elgin  Marble  (440  B.  C.),  British  Museum  H.,  2 ft.  6 in. 

The  head  projected  over  the  cornice  of  the  eastern  pediment.  Double 
holes  behind  the  ears,  on  the  nose,  between  the  eyes  and  mouth,  and 
on  the  inner  corner  of  the  mouth  (not  well  represented  in  the  cast) 
showed  where  the  metal  bridle  had  been  affixed. 

“This  head  has  ever  been  held  as  the  instance  of  sculpture  in  which 
the  combination  of  actual  truth  to  nature,  on  the  one  hand,  and  the 
insistence  upon  the  broad,  important,  and  general  features,  with  the 
avoidance  of  purely  individual  and  ephemeral  traits,  upon  the  other, 
has  been  successfully  attained.” 

We  are  indebted  for  much  of  the  foregoing  matter  relating  to  the 
Parthenon  to  Stuart  and  Revett,  Antiquities  of  Athens;  to  Dr.  William 
Liibke,  History  of  Sculpture;  and  to  the  writings  of  Charles  Waldstein, 
Litt.D.,  Ph.D.,  L.H.D.,  Director  of  Fitzwilliam  Museum,  Cambridge. 


Casts  from  Antique  Sculpture 


17 


1017A 

EIGHT  SLABS  OF  THE  METOPES  OF  THE  PARTHENON 
From  the  Original  Marbles  in  the  British  Museum 

These  Metopes  were  of  Pentelic  Marble  and  were  decorated  with 
sculpture  in  high  relief.  There  were  92  of  them,  separated  from  one 
another  by  triglyphs,  and  running  around  the  whole  of  the  temple,  14 
on  either  front  and  32  on  each  side.  Each  was  4.41  feet  square,  but 
the  top  contained  a projecting  seam  of  0.45  feet,  decorated  with  a bead 
ornament  which  must  be  deducted  from  the  space  left  for  reliefs.  The 
figures  in  the  reliefs  project  from  the  background  about  ten  inches, 
probably  prescribed  by  the  thickness  of  the  slabs. 

Though  there  are  at  present  no  traces  of  color  to  be  found  on  the 
originals,  there  can  hardly  be  any  doubt  that  the  reliefs  were  supported 
by  color. 

The  subjects  of  these  Metopes  are  taken  from  the  contest  between 
the  Centaurs  and  Lapiths  at  the  marriage  feast  of  Peirithoos. 

1018 

THE  DISCOBOLOS  (Quoit-thrower) 

Original  Bronze,  in  the  British  Museum  H.,  5 ft.  5§  in. 

The  original  statue  was  executed  in  bronze  by  Myron  at  the  close  of 
the  first  period  of  Greek  sculpture,  about  470  B.  C.,  and  is  minutely 
described  by  Lucian  and  Quintillian.  The  discus  was  a round,  flat 
plate  of  metal  or  stone,  about  ten  or  twelve  inches  in  diameter.  There 
are  several  antique  copies  in  marble  of  this  figure,  showing  the  head 
reverted.  The  copy  from  which  this  cast  is  taken  was  found  in  1791, 
near  Hadrian’s  Villa. 

1019 

DISCOBOLOS 

Original  Marble,  in  the  Vatican  H.,  5 ft.  5f  in. 

The  original  of  this  cast  is  supposed  to  be  by  Naucydes,  pupil  of 
Polycletus,  who  was  a pupil  of  Phidias.  The  head  is  supposed  not  to 
have  formed  a part  of  the  original  figure.  The  fillet  round  the  head 
was  the  badge  of  victory. 

1020 

VENUS  OF  MELOS 

Original  Marble,  in  the  Louvre  H.,  6 ft.  8 in. 

The  original  of  this  cast  was  discovered  in  1820  by  a peasant,  in  a 
grotto  about  five  hundred  yards  from  the  ancient  theatre  of  the  town 


18 


Casts  from  Antique  Sculpture 


of  Melos,  in  the  island  of  the  same  name.  From  its  shape  and  charac- 
ter, the  grotto  is  supposed  to  have  been  a grave  in  which  the  statue 
was  hidden.  It  was  bought  for  the  sum  of  6,000  francs  by  M.  de 
Marcellas  for  the  Marquis  de  Riviere,  then  French  Ambassador  to  the 
Porte.  It  was  carried  to  Paris  in  February,  1821,  and  presented  by 
Riviere  to  Louis  XVIII.  It  now  stands  in  the  Louvre,  the  pride  of 
Paris,  and  the  admiration  of  the  world.  Its  sculptor  is  unknown,  but 
by  the  grandeur  of  its  style  it  is  justly  assigned  to  the  era  between 
Phidias  and  Praxiteles,  and  is  considered  the  greatest  statue  of  woman’s 
form  the  world  now  holds.  The  plinth,  the  tip  of  the  nose,  and  a 
small  part  of  the  lips  are  the  only  parts  restored.  Parts  of  an  arm  and 
hand  were  also  found,  but  so  mutilated  that,  though  casts  have  been 
taken  with  them  attached,  the  torso  is  declared  by  the  world  better  as 
it  is  — the  fulness  of  what  is  left,  and  its  suggested  action,  being  more 
satisfactory  than  any  guesswork  from  an  uninspired  hand. 

Mr.  Ravaisson,  keeper  of  the  Antiques  of  the  Louvre,  thinks  it  prob- 
able that  the  statue  is  part  of  a group  of  Venus  and  Mars — “Love  Dis- 
arming War” — and  he  has  made  a cast,  with  the  arms  attached,  which 
it  is  said  confirms  his  theory.  Then,  again,  it  is  asserted  that  a small 
bronze  copy  of  it  has  been  discovered  in  Pompeii  representing  her  as 
looking  at  herself  in  a mirror  held  in  her  left  hand. 

Mr.  Millingen,  a Dutch  antiquary,  thinks  it  a Victory  holding  a 
shield  with  both  hands,  and  Mr.  Stillman,  a recent  critic,  contends  that 
it  is  the  Wingless  Victory  that  once  stood  in  the  Temple  of  Nike- 
Apteros,  Athens,  and  was  sent  to  Melos  at  the  time  of  a threatened 
invasion. 

The  Venus  of  Capua  in  the  Museo  Bourbonico,  Naples,  is  like  the 
Venus  of  Melos  in  general  form,  but  has  the  head  bent  down  and  the 
left  arm  and  empty  hand  extended  towards  a Cupid,  who,  with  his 
bow,  stands  before  her.  It  is  believed  to  be  a modified  copy  of  the  latter. 

All  these  theories,  however,  are  set  at  naught,  and  the  action  of  the 
Venus  of  Melos  settled,  if  there  be  truth  in  the  following  evidence  of 
its  condition  when  found,  as  quoted  by  O’Shea  in  his  4 4 Galleries  of  the 
Louvre.”  The  eminent  traveler  Dumont  D’Urville  landed  from  the 
French  frigate  soon  after  its  discovery,  and  after  an  inspection,  says  in 
his  account  of  it,  published  in  1821 : 44  The  statue  was  in  two  parts,  and 
about  six  feet  high,  representing  a nude  female  whose  left  hand  {raised) 
held  an  apple , and  the  right  one  held  up  a tunic  falling  gracefully  from 
the  waist  to  the  feet.  However,  they  (the  hands)  were  mutilated  and 
separated  from  the  body.”  An  officer  of  the  man-of-war,  writing 
about  the  statue, says:  44  When  M.  D’Urville  and  myself  saw  the  statue 
it  had  the  left  arm  raised  in  the  air,  and  holding  in  its  hand  an  apple , 
and  the  right  arm  was  broken  at  its  narrow  part  — d la  saignee.”  O ’Shea 
also  states  that  the  forearm  and  hand  holding  the  apple  are  in  the  store- 
room of  the  Louvre.  This  contemporary  evidence  seems  to  prove  con- 
clusively that  the  statue  is  a Venus  Victrix  in  the  contest  for  the  apple 
with  Juno  and  Minerva. 


Casts  from  Antique  Sculpture 


19 


1021 

VENUS  DE  MEDICI 

Original  Marble,  in  Florence  H.,  5 ft. 

Gift  of  J.  C.  McGuire 

The  original  stands  in  the  Tribunal  of  the  Uffizi,  Florence.  It  was 
found  in  the  15th  century,  and  carried  to  Venice  during  the  reign  of 
Cosmo  di  Medicis  — hence  its  name.  When  found  it  was  in  thirteen 
pieces,  and  without  arms.  These  were  supplied,  but  it  is  supposed  by 
many  that  the  position  of  the  original  arms  is  not  given  in  the  substi- 
tutes. It  was  executed  by  Cleomenes  of  Athens  at  a period  when 
Greek  art  was  rapidly  declining. 


1022 

VENUS  OF  THE  CAPITOL 

Original  Marble,  in  the  Capitoline  Museum,  Rome  H.,  5 ft.  11  in. 

Found  in  Rome,  between  Viminal  and  Quirinal  hills,  and  placed  in 
the  Capitoline  Museum  by  Benedict  XIV,  1752.  Bausteine  regards  it 
as  a Greek  work  of  the  period  after  Alexander  the  Great. 


1023 

SLEEPING  ARIADNE 

Original  Marble,  in  the  Vatican  H.,  5 ft.  3j  in.;  L.,  6 ft.  11 J in. 

Date  and  place  of  discovery  unknown.  Its  history  can  be  traced  to 
the  beginning  of  the  16th  century,  when  it  was  in  the  possession 
of  Girolamo  Maffei,  a prominent  citizen  of  Rome  (Michaelis),  pur- 
chased of  him  by  Julius  II,  between  1509  and  1512,  and  placed  in  the 
Belvedere  of  the  Vatican,  whence  it  was  subsequently  removed  to  the 
Gallery  of  Statues. 


1024 

EUTERPE 

Original  Marble,  in  the  Louvre  H.,  4 ft.  6 in. 

Formerly  in  the  Villa  Borghese,  Rome 

The  head  is  ancient,  but  does  not  belong  to  the  statue.  The  nose, 
mouth,  and  chin  are  modern;  also  the  neck,  the  right  hand,  and  por- 
tion of  the  arm. 


20 


Casts  from  Antique  Sculpture 


1025 

DIANA  DI  GABII 

Original  Marble,  in  the  Louvre  H.,  6 ft.  5 in. 

Found  in  1792  in  the  neighborhood  of  Gabii,  about  ten  miles  from 
Rome.  At  first  it  belonged  to  the  Borghese  Collection;  since  1808  it 
has  been  in  the  Louvre.  The  right  hand  and  the  lower  part  of  the  left 
leg  are  restorations. 

1026 
EROS 

Original  Marble,  in  the  Vatican  H.,  2 ft.  9j  in. 

Found  in  the  second  half  of  the  18th  century  by  Gavin  Hamilton,  at 
Centocelle,  in  the  Via  Labicana,  near  Rome,  and  sold  to  Pope  Clement 
XIV,  by  whom  it  was  placed  in  the  Vatican.  It  has  been  thought  to 
be  from  an  original  of  Praxiteles,  but  the  expression  has  too  much  of 
melancholy  for  an  Eros  of  Praxiteles.  Overbeck  does  not  think  that 
the  figure  can  be  accepted  as  a work  of  that  master. 


1027 

ABUNDANCE,  or  PLENTY 

Original  Marble,  in  the  Vatican  H.,  6 ft.  11  in. 

It  has  the  cornucopia  in  the  left  hand,  while  the  right  holds  a rudder 
resting  on  a globe,  thus  indicating  Commerce  as  a source  of  Plenty. 


1028 

MINERVA 

Original  Marble,  in  the  Vatican  H.,  7 ft.  3 in. 

Found  in  Rome  near  the  Church  of  S.  Maria  Sopra  Minerva,  which, 
as  its  name  implies,  was  built  over  a temple  of  Minerva.  During  the 
time  of  the  first  Napoleon  it  belonged  to  Lucien  Bonaparte.  He  sold 
it  to  Pius  VII,  who  removed  it  to  the  Vatican. 


1029 

GENIUS  OF  ETERNAL  REPOSE 
Original  Marble,  in  the  Louvre  H.,  5 ft.  11  in. 

The  statue  is  of  Pentelic  Marble;  but  it  is  of  the  Roman  period,  as  is 
shown  by  the  fact  that  the  pupils  of  the  eyes  are  indicated.  This  is  one 


Casts  from  Antique  Sculpture 


21 


of  the  statues  that  belonged  to  the  collection  of  the  Cardinal  Mazarin, 
and  was  one  of  those  which  were  left  by  him  to  the  Due  de  Meilleraye, 
who  took  the  arms  and  the  name  of  the  Cardinal,  and  who,  when  he 
got  the  statues,  did  with  his  own  hands  a lot  of  smashing  to  prove  the 
absolute  purity  of  his  thoughts  and  his  abhorrence  of  the  nudities  of 
Greek  mythology.  The  statue  has  been  broken  in  two,  and  all  the 
front  part  of  it  has  been  banged  and  battered.  It  was  so  mutilated 
that  at  one  time  it  passed  for  an  Hermaphrodite.  The  restorations  are 
good,  and  the  statue  is  recognized  as  a work  of  excellent  art.  Whether 
the  original  composition  was  of  Greek  or  of  Roman  art  cannot  as 
yet  be  determined. 

1030 

GERMANICUS  (so-called) 

Original  Marble,  in  the  Louvre  H.,  5 ft.  11  in. 

Of  Parian  Marble.  Place  and  date  of  discovery  unknown,  but  in 
Italy,  and  probably  during  the  last  half  of  the  16th  century.  In  1685 
it  was  sold  by  Cardinal  Savelli  to  Louis  XIV,  together  with  the  so- 
called  Jason;  and  placed  first  at  Versailles,  afterwards  in  the  Louvre. 
Some  consider  it  to  be  a statue  of  a Roman  orator,  in  the  character 
of  Mercury,  the  god  of  eloquence,  of  whom  the  tortoise  below  the 
drapery  is  an  emblem.  It  is  inscribed,  “ Cleomenes,  son  of  Cleomenes, 
made  this.’*  The  thumb  and  forefinger  of  the  left  hand  are  the  only 
restorations. 

1031 

ANTINOUS  OF  THE  CAPITOL 
Original  Marble,  in  the  Capitoline  Museum  H.,  5 ft.  10 J in. 

Found  in  Hadrian’s  Villa,  near  Tivoli;  placed  in  the  Museum  by 
Pope  Clement  XII. 


1032 

THE  BORGHESE  WARRIOR 

Original  Marble,  in  the  Louvre  H.,  5 ft.,  and  from  head  to  foot,  6 ft.  6 in. 

This  statue  was  found  on  the  coast  near  Antium,  early  in  the  17th 
century,  very  near  the  spot  where,  a century  before,  the  Apollo  Belve- 
dere was  found.  The  stem  supporting  it  is  inscribed  in  Greek  letters, 
“Agasias,  son  of  Dositheas,  of  Ephesus,  made  me;”  and  therefore  it  is 
a specimen  of  Greek  sculpture  of  the  Fourth  Epoch,  that  ended  with 
the  Roman  conquest.  It  is  now  asserted  that  this  statue  does  not 
represent  a gladiator,  but  a foot-soldier,  defending  himself  against  a 
horseman;  and  that  gladiators  were  principally  slaves,  who  fought  with 


22 


Casts  from  Antique  Sculpture 


more  or  less  armor.  Viardot  insists  that  it  is  Greek,  and  represents  an 
athlete  of  the  Hellenic  games,  gladiators  being  of  Roman  origin,  and 
not  known  to  the  Greeks. 

1033 

GROUP  OF  LAOCOON  AND  HIS  SONS 
Original  Marble,  in  the  Vatican  H.,  6 ft.  J in.  to  top  of  head 

Date  probably  B.  C.  100 

The  original  was  executed  by  three  sculptors  — Agesandros,  Atheodo- 
ros,  and  Polydoros.  It  was  found  in  1506,  in  the  ruins  of  the  Palace  of 
Titus,  on  the  Esquiline,  Rome,  and  the  Pope  ordered  a public  festival 
in  honor  of  its  discovery. 

The  right  arm  of  Laocoon  was  wanting  in  the  group  as  found.  One 
in  terra-cotta,  by  Bernini,  was  substituted.  Michael  Angelo  designed 
one  in  marble,  but  never  finished  it.  Liibke  and  other  writers  insist 
that  the  right  arm  was  not  originally  in  the  position  given  to  it  by  the 
great  sculptor,  but  was  bent  down  behind  the  head,  which  was  thus 
supported  by  the  hand  in  that  moment  of  exhausted  agony.  This  posi- 
tion of  the  arm  is  often  given  in  engravings. 


1034 

APOXYOMENOS 

Marble,  in  the  Vatican  H.,  6 ft.  5j  in. 

This  cast  represents  an  athlete  scraping  from  his  arm  with  the  strigil 
the  sand  and  oil  of  the  arena.  Athletes  were  contestants  in  the  public 
games,  and  before  entering  the  arena  rubbed  their  naked  bodies  over 
with  oil.  The  original,  in  bronze,  executed  by  Lysippos,  was  found 
in  the  Trastavere,  Rome,  in  1849.  Agrippa  had  it  placed  in  front  of 
the  Thermae,  near  the  Pantheon,  and  it  was  so  popular  that  when 
Tiberius  attempted  its  removal  to  his  own  residence  the  people  rose 
and  forbade  it. 

It  is  believed  that  the  five-spot  on  the  die  (tessera)  held  out  in  the 
right  hand  signifies  that  the  figure  came  out  fifth  in  the  contest,  though 
Waldstein  says  the  die  was  placed  in  the  restored  right  hand  on  the 
strength  of  a misinterpretation  of  some  words  of  Pliny. 


1035 

BUST  OF  NERO 

Original  Marble,  in  the  Louvre  H.,  1 ft.  11  in. 


Casts  from  Antique  Sculpture 


23 


1036 

AJAX,  or  MENELAUS 

Original  Marble,  in  the  British  Museum  H.,  2 ft.  3j  in. 

This  bust  has  been  erroneously  called  Ajax.  It  was  found  in  1771 
by  Mr.  Gavin  Hamilton  in  the  Pantinella,  Hadrian’s  Villa. 


1037 

SILENUS  HOLDING  THE  INFANT  BACCHUS 

Original  Marble,  in  the  Louvre  H.,  6 ft.  4 in. 

The  original  of  this  cast  was  found  in  the  16th  century  in  Rome,  in 
the  gardens  of  Sallust.  The  hands,  half  of  the  right  forearm,  and  right 
toes  of  Silenus,  and  left  leg  of  Bacchus  are  restorations. 


1038 

VENUS  KALLIPYGE 

Original  Marble,  in  the  Naples  Museum  H.,  5 ft.  1 in. 

So  called  from  the  Greek  definition  of  its  peculiar  character.  It  was 
once  in  the  Farnese  Palace,  Rome.  The  head  and  the  right  leg  below 
the  knee  are  supposed  to  be  restorations. 


1039 

BOY  AND  GOOSE 

Original  Marble,  in  the  Vatican  H.,  2 ft.  9j  in. 

Found  in  1789,  at  Civita  Vecchia,  Appian  Way.  It  is  thought  to  be 
copied  from  a bronze  work  by  Boetius,  of  Carthage.  Heads  of  the 
child  and  goose,  with  the  wing-tips,  are  restorations. 


1040 

YOUTH  SUPPLICATING 

Original  Bronze,  at  Berlin  H.,  4 ft.  2\  in. 

The  original  of  this  statuette  is  said  to  have  been  found  in  the  Tiber. 
From  Clement  XI  it  passed  through  several  hands  to  the  King  of  Prussia. 
The  right  hand  and  part  of  the  forearm  are  restorations. 


24 


Casts  from  Antique  Sculpture 


1041 

THE  BORGHESE  MARS 

Original  Marble,  in  the  Louvre  H.,  6 ft.  9 in. 

The  original  of  this  cast  was  formerly  in  the  Villa  Borghese,  whence 
its  name.  Its  proper  name  is  doubtful.  Clarac  thought  it  a copy  of  a 
bronze  by  Alcamenes,  favorite  pupil  of  Phidias.  Visconti  first  gave  it 
the  name  of  Achilles,  but  Winckelmann  thinks  it  a statue  of  Mars,  and 
that  the  ring  or  anklet  indicated  the  custom  of  the  Spartans  of  chain- 
ing up  the  God  of  War,  “ that  he  might  never  leave  them.” 


1042 

HERMES  OF  THE  BELVEDERE 
Original  Marble,  in  the  Vatican  H.,  6 ft.  6 in. 

Probably  found  about  1542  in  a garden  near  the  Castle  of  St.  Angelo 
(Michaelis).  Purchased  by  Paul  III,  and  placed  by  him  in  the  Belve- 
dere of  the  Vatican.  There  are  no  restorations.  The  right  leg  was 
broken  between  the  ankle  and  hip,  and  is  not  well  joined  to  the  foot. 


1043 

CROUCHING  VENUS 

Original  Marble,  in  the  Vatican  H.,  2 ft.  in. 

The  original  statuette  was  found  at  Salone,  on  the  road  from  Rome 
to  Palestrina.  The  left  hand,  right  forearm,  and  upper  part  of  the  head 
are  modern. 


1044 

VENUS  AT  THE  BATH 

Original  Marble,  in  the  Louvre  H.,  2 ft.  3 in. 

Much  of  this  figure  is  of  modern  restoration.  It  is  supposed  to  be  a 
copy  of  the  Venus  of  Polycharmes,  which  Pliny  says  was  taken  to 
Rome  in  his  time. 


1045 

BONE-PLAYER 

Original  Marble,  in  the  Louvre  H.,  2 ft.  J in. 

The  original  of  this  statue  was  found  at  Rome  in  1730.  The  right 
hand,  neck,  and  left  shoulder  are  modern. 


Casts  from  Antique  Sculpture 


25 


1046 

THE  VIRGIN  AND  CHILD 

Original  in  the  Cathedral  of  Paris  H.,  8 ft.  9 in.;  W.,  4 ft.  6 in. 
12th  century.  Sculptor  unknown. 

1047 

JULIA 

Original  Marble,  in  the  Vatican  H.,  4 ft.  5|  in. 

The  original  of  this  statue  was  found  on  the  coast  of  Barbary,  at  Ben 
Ghuzi,  and  is  sometimes  called  A Young  Roman  Girl. 

1048 

DEMOSTHENES 

Original  Marble,  in  the  Vatican  H.,  6 ft.  5 in. 

Formerly  in  the  Villa  Aldobrandini  at  Frascati.  Restorations:  Both 
wrists  and  hand,  with  the  scroll. 

Perhaps  a copy  of  the  bronze  portrait  statue  by  Polyeuktus  at 
Athens,  3d  century  B.  C. — [Waldstein.\ 

1049 

SOPHOCLES 

Original  Marble,  in  the  Lateran,  Rome  H.,  6 ft.  8j  in. 

Found  at  Terracina  in  the  court  of  a private  house.  Probably  a copy 
of  a bronze  original  of  the  4th  century  at  Athens. — [Waldstein.] 

1050 

ARISTIDES,  or  ^SCHINES 

Original  Marble,  in  the  Naples  Museum  H.,  6 ft.  6 in. 

Found  in  Herculaneum  in  1753,  in  fragments. 

1051 

BUST  OF  SOCRATES 

Original  Marble,  in  the  Louvre  H.,  1 ft.  8 in. 

‘ ‘ The  portraits  of  Socrates  date  back  to  a bronze  statue  of  him  made 
by  Lysippos  and  erected  at  Athens  after  his  death.  The  features  of  this 
bust  correspond  well  with  the  description  put  into  Socrates’  own  mouth 
by  Plato.” 


26 


Casts  from  Antique  Sculpture 


1052 

BUST  OF  HOMER 

Original  Marble,  in  the  Louvre  H.,  1 ft.  11  in. 

This  bust  is  very  like  the  one  in  the  British  Museum.  The  original 
was  found  inserted  in  a garden  wall  in  Rome. 


1053 

BUST  OF  HOMER 

Original  Marble,  in  the  British  Museum  H.,  1 ft.  9|  in. 

The  original  of  this  bust  was  found  at  Baiae  in  1780.  There  are 
many  copies. 

1054 

COLOSSAL  BUST  OF  JUPITER 

Original  Marble,  in  the  Vatican  H.,  2 ft.  8j  in. 

The  original  in  marble  of  this  cast  was  found  at  Otricoli,  a small 
town  about  fifty  miles  north  of  Rome,  built  near  the  site  of  the  ancient 
Otriculum. 


1055 

CARYATID 

Original  Marble,  in  the  Vatican  H.,  7 ft.  5 in. 

The  original  of  this  figure  is  from  the  Erechtheum  at  Athens.  It  is  one 
of  the  six  statues  of  noble  Athenian  maidens  which  support  the  light 
roof  of  the  southern  porch  of  the  temple. 


1056 

POLYHYMNIA 

Original  Marble,  in  the  Louvre  H.,  5 ft.  11  in. 

The  statue  was  once  in  the  Villa  Borghese.  Only  the  lower  half  is 
said  to  be  antique,  the  remainder  being  restored  by  Augustino  Penna 
from  a bas-relief  on  a sarcophagus  in  the  Capitol. 


Casts  from  Antique  Sculpture 


27 


1057 

APOLLO  SAUROKTONOS  (Lizard-Killer) 

Original  Marble,  in  the  Louvre  H.,  4 ft.  10J  in. 

Found  among  the  ruins  of  the  house  of  Augustus  in  the  Palatine, 
during  the  excavations  of  the  Abbe  Rancoureil  in  1777.  It  is  mentioned 
by  Pliny  as  a work  of  Praxiteles.  * ‘ The  meaning  of  the  lizard  is  some- 
what doubtful.  It  is  known  that  the  lizard  had  certain  magic  prop- 
erties attributed  to  it,  and  was  used  in  incantations;  but  in  this  group 
many  critics  prefer  to  see  only  a genre  subject, — Apollo,  as  a boy,  try- 
ing to  ‘stalk’  and  pierce  the  lizard,  simply  as  an  exercise  of  agility,  the 
animal  being  extremely  quick  in  its  movements.” — [Waldstein.] 

1058 
FLORA 

Original  Marble,  in  the  Capitoline  Museum,  Rome  H.,  5 ft.  5j  in. 

1059 

PUDICITIA 

Original  Marble,  in  the  Vatican  H.,  4 ft.  6§  in. 

Formerly  in  the  Villa  Mattei.  Placed  in  the  Vatican  by  Clement 
XIV.  The  statue  derived  its  name  from  the  long,  full  drapery  and  the 
veiled  head  and  shoulders,  which  are  considered  appropriate  attributes 
of  the  Goddess  of  Modesty.  The  name  has  been  questioned,  how- 
ever, the  statue  being  considered  by  some  authorities  as  a portrait  of 
Livia,  wife  of  Augustus. 

1060 

CENTAUR  AND  CUPID 

Original  Marble,  in  the  Louvre  H.,  4 ft.  6j  in. 

The  original  of  this  cast  was  found  at  Villa  Fonesca.  There  is 
another  in  the  Vatican,  and  it  is  doubtful  which  is  the  copy.  The 
winged  figure  is  thought  by  Viardot  to  be  a Bacchus,  and  not  Cupid, 
as  he  has  an  ivy  wreath. 

1061 

DAUGHTER  OF  NIOBE 

Original  Marble,  in  the  Vatican  H.,  5 ft.  6 in. 

Discovered  possibly  in  Hadrian’s  Villa  in  the  16th  century. 
Formerly  in  the  Papal  gardens  of  the  Quirinal.  There  are  no  restora- 
tions. 


28 


Casts  from  Antique  Sculpture 


1062 

FAUN  OF  THE  CAPITOL 

Original  Marble,  in  the  Capitoline  Museum,  Rome  H.,  5 ft.  7 in. 
(The  “ Marble  Faun”  of  Hawthorne) 

Found  in  1701  near  Civita  Lavinia,  where  there  was  formerly  a Villa 
of  Antonius  Pius.  Placed  in  the  Museum  of  the  Capitol  by  Benedict 
XIV  in  1753. 

1063 

FAUN,  WITH  KID 

Original  Marble,  at  Madrid  H.,  4 ft.  5 in. 


1064 

FAUN  (a  la  Tache) 

Original  Marble,  in  the  Louvre  H.,  1 ft.  10  in. 

This  bust  of  a laughing  Faun  takes  its  French  designation  from  a spot 
or  stain  on  the  right  cheek  and  shoulder  of  the  original  marble. 


1065 

ATHLETE 

Original  Marble,  in  the  Glyptothek,  Munich  H.,  4 ft.  9j  in. 

Date  and  place  of  discovery  unknown.  It  represents  an  athlete 
preparing  for  a contest  in  the  public  games. 


1066 

DYING  GALATIAN 

Original  Marble,  in  the  Capitoline  Museum,  Rome 

H.,  1 ft.  11  in.;  L.,  5 ft.  11  in. 

Found  in  Rome  in  the  16th  century.  Formerly  in  the  Villa 
Ludovisi,  from  which  it  was  carried  to  the  Capitol  by  Clement  XII 
(1730-1740). 

Restorations:  The  end  of  the  nose,  the  right  hand  and  arm,  part 
of  the  left  knee,  the  toes,  and  part  of  the  plinth,  including  the  sword 
and  a portion  of  the  horn. 

It  is  now  generally  supposed  that  this  and  the  group  No.  1092 
(Galatian  and  His  Wife)  are  copies  in  marble  of  two  of  those  erected 
in  Pergamon. 


Casts  from  Antique  Sculpture 


29 


1067 

APHRODITE  ARRANGING  HER  HAIR 
Original  in  the  Vatican  H.,  4 ft.  10  in. 

Aphrodite  is  represented  in  one  of  the  many  toilet  scenes,  chiefly 
connected  with  the  bath,  in  which  she  served  as  a subject  for  the  later 
Greek  artists. 


1068 

MERCURY  IN  REPOSE 

Original  in  the  Museum,  Naples  H.,  3 ft.  6 in. 

The  original,  in  bronze,  of  this  cast  is  classed  among  the  finest  of 
ancient  date,  and  was  found  in  Herculaneum  in  1758.  Its  base  is  the 
only  modern  part.  The  left  hand  is  supposed  to  have  held  the  caduceus. 


1069 

APOLLO  BELVEDERE 

Original  Marble,  in  the  Vatican  H.,  7 ft.  1 in. 

The  original  of  this  statue  was  discovered  at  Cape  d’Anzo  (Antium) 
in  1503.  Bought  by  Julius  II,  when  still  a cardinal,  it  was  placed  by 
him,  when  Pope,  in  the  Belvedere  of  the  Vatican.  The  name  of  its 
sculptor  is  unknown.  Its  date  is  placed  at  B.  C.  279.  Canova  and 
Visconti  think  it  is  a copy  from  an  ancient  bronze  by  Calamus.  The 
left  hand  and  wrist  and  the  fingers  of  the  right  hand  were  restored  by 
G.  A.  da  Montorsoli,  pupil  of  Michael  Angelo.  Undoubtedly  many 
copies  of  the  original  were  made;  and  a bronze  copy  discovered  in  1792 
at  Paramythia,  and  now  at  St.  Petersburg,  in  the  judgment  of  some 
has  changed  entirely  the  meaning  of  the  action  of  the  figure.  Apollo 
is  here  represented  as  holding  a bow  and  discharging  an  arrow  at  the 
serpent  Python,  sent  by  Juno  to  destroy  his  mother,  Latona.  In  the 
bronze  statuette  referred  to  there  is  no  tree- trunk  (necessary  to  support  a 
figure  in  marble),  but  the  left  hand  holds  a shield  bearing  the  head  of 
Medusa,  supposed  to  turn  all  gazers  into  stone,  and  which  Homer,  in 
the  Iliad,  xv,  318,  says  Jupiter  lent  to  Apollo.  Dr.  Liibke  accepts  this 
explanation  of  the  action  of  the  figure,  and  says, 4 4 Not  until  now  have 
we  understood  the  statue.”  Waldstein  says:  “The  statue  is  not  an 
original  work,  but  a copy,  whether  from  bronze  or  marble  is  uncertain.” 
After  the  delivery  of  a message  the  god  is  resting  before  he  starts  with 
another.  The  motive  is  often  found  on  gems  and  reliefs.  Winckel- 
mann  calls  attention  to  the  manner  in  which  the  sandals  are  fastened. 
The  buckle  where  the  straps  meet  is  directly  under  the  sole  of  the  foot, 
showing  that  the  god  did  not  walk,  but  flew. 


30 


Casts  from  Antique  Sculpture 


1070 

COLOSSAL  MASK  OF  JUNO 

H.,  3 ft.  3 in. 

From  a copy,  in  marble,  in  the  Villa  Ludovisi,  Rome,  probably  after 
Alcamenes. 


1071 

MELEAGER 

Original  Marble,  in  the  Vatican  H.,  6 ft.  6|  in. 

The  original  was  found  in  Rome,  and  is  supposed  to  be  of  the  time 
of  Hadrian,  A.  D.  76-136. 


1072 

BUST  OF  MENELAUS,  or  AJAX 
Original  Marble,  in  the  Vatican  H.,  3 ft. 

The  original  of  this  bust  was  found  at  Hadrian’s  Villa,  Tivoli,  and  is 
commonly,  but  erroneously,  known  as  Ajax.  Visconti  satisfactorily 
proved  it  to  be  Menelaus.  Bas-reliefs  of  Hercules  fighting  with  Cen- 
taurs are  on  the  helmet. 


1073 

TORSO  OF  HERCULES  (the  BELVEDERE  TORSO) 
Original  Marble,  in  the  Vatican  H.,  4 ft.  lj  in. 

Date  and  place  of  discovery  unknown.  It  was  taken  from  the 
Palazzo  Colonna  to  the  Belvedere  of  the  Vatican  during  the  pontificate 
of  Clement  VII  (1523-1534).  There  are  no  restorations. 

This  figure  was  one  of  the  chief  promoters  of  sculpture  during  the 
Renaissance.  Michael  Angelo  regarded  it  with  enthusiastic  admiration, 
and  declared  himself  its  pupil.  Its  influence  has  not  declined  with  the 
development  of  modern  knowledge  of  Greek  art,  as  it  still  retains  its 
place  among  the  grandest  statues  of  Rome. 


1074 

JASON 

Original  Marble,  in  the  Louvre  H.,  5 ft.  2 in.;  W.  3 ft. 

Formerly  in  Rome,  in  the  Palazzo  Savelli ; later  in  the  Villa  Montalto. 
Purchased  of  Cardinal  Savelli  for  Louis  XIV  in  1685,  and  by  him 
placed  at  Versailles,  whence  it  was  subsequently  removed  to  the  Louvre. 


Casts  from  Antique  Sculpture 


31 


This  statue  has  been  called  Mercury  and  Cincinnatus,  but  is  now 
considered  to  represent  the  famous  leader  of  the  Argonauts,  hurriedly 
tying  on  but  one  sandal  in  his  haste  to  seek  his  uncle,  Pelias,  usurper  of 
his  father’s  throne,  and  who  had  been  warned  by  an  oracle  to  beware  of 
the  “ one-sandalled  man.” 


1075 

BUST  OF  PERICLES 

Original  Marble,  in  the  British  Museum  H.,  1 ft.  10 J in. 

1076 

BUST  OF  PERIANDER 

Original  Marble,  in  the  British  Museum  H.,  1 ft.  7 in. 

One  of  the  Seven  Sages  of  Greece. 

1077 

BUST  OF  JULIUS  C^SAR 

Original  Marble,  in  the  British  Museum  H.,  1 ft.  2 in. 


1078 

THE  “ SPINARIO” 

Original  Bronze,  in  the  Palazzo  dei  Conservatori,  Rome  H.,  2 ft.  4j  in. 

The  date  and  place  of  discovery  unknown,  and  possibly  the  statue 
never  was  buried  (Michaelis) . The  first  date  definitely  associated  with 
it  is  1471,  when  it  was  one  of  the  few  ancient  sculptures  with  which 
Sixtus  IV  founded  the  Capitoline  Collection.  After  the  treaty  of  Tolen- 
tino,  in  1797,  it  was  carried  to  France  by  Napoleon,  but  subsequently 
returned.  There  are  no  restorations. 

1079 

HEAD  OF  ALEXANDER  THE  GREAT 
Original  Marble,  in  the  British  Museum  H.,  1 ft.  2\  in. 

1080 


HEAD  OF  DIOGENES 
Original  Marble,  in  the  British  Museum 


H.,  1 ft.  2 in. 


32 


Casts  from  Antique  Sculpture 


1081 

BUST  OF  DIONE 

Original  Marble,  in  the  British  Museum  H.,  1 ft.  11 J in. 

1082 

BUST  OF  CLYTIE 
Original  Marble,  in  the  British  Museum 

1083 

BUST  OF  SEPTIMIUS  SEVERUS 
Original  Marble,  in  the  British  Museum  H.,  2 ft.  2 in. 


1084 

BUST  OF  TRAJAN 

Original  Marble,  in  the  British  Museum  H.,  1 ft.  11  in. 

The  original  of  this  bust  was  found  in  the  Campagna  of  Rome  in 
1776. 


1085 

BUST  OF  ISIS 


Original  Marble,  in  the  British  Museum  H.,  1 ft.  11 J in. 

The  Egyptian  Goddess,  with  the  lotus  flower  above  her  forehead,  is 
here  represented  unveiled. 


1086 

THE  WRESTLERS 

Original  Marble,  in  Uffizi  Gallery,  Florence  H.,  3 ft. 

Found  in  1583  near  the  Lateran,  Rome.  First  in  the  Villa  Medici, 
Rome;  removed  to  Florence  in  1677. 


1087 

DIANA  HUNTRESS 

Original  Marble,  in  the  Louvre  H.,  6 ft.  6 in. 

Also  called  Diana  of  Versailles.  The  statue  was  brought  to  France 
during  the  reign  of  Francis  I.  It  derives  the  latter  name  from  the  fact 
that  Louis  XIV  had  it  removed  to  Versailles.  It  was  placed  in  the 
Louvre  in  1798. 


Costs  from  Antique  Sculpture 


33 


1088 

AUGUSTUS  CESAR 

Original  Marble,  in  the  Louvre  H.,  6 ft.  10  in. 


1089 

HERMES  WITH  THE  INFANT  DIONYSOS 
Original  Marble,  in  the  Museum  at  Olympia  H.,  7 ft.  2 in. 

The  original  of  this  cast  was  discovered  at  Olympia,  in  the  Herseum 
(Temple  of  Hera),  May  8,  1877.  Now  in  the  Museum  at  Olympia.  It 
is  known  to  be  by  Praxiteles,  on  the  authority  of  Pausanias  (2d  century 
A.  D.),  who  saw  and  described  it.  Waldstein  says:  “This  is  the  only 
Greek  statue  in  existence  of  which  we  can  say,  without  hesitation,  that 
it  comes  directly  from  the  hand  of  one  of  the  greatest  masters.” 

All  below  the  knee  of  Hermes  is  lost,  save  one  foot  (seen  on  the 
plinth  behind  the  cast). 

1090 

BUST  OF  LUCIUS  VERUS 

Original  Marble,  in  the  Louvre  H.,  2 ft.  10  in. 

From  the  original  found  in  Roma  Vecchia. 

1091 

BUST  OF  MARCUS  AURELIUS 
Original  Marble,  in  the  Villa  Borghese  H.,  2 ft.  11 J in. 

1092 

GALATIAN  AND  HIS  WIFE 

Original  Group  in  Marble,  in  the  Villa  Ludovisi,  Rome  H.,  6 ft.  10  in. 

The  date  and  place  of  discovery  is  unknown,  but  it  has  been  in  the 
Villa  Ludovisi  since  it  was  built,  in  1632. 

Restorations : On  the  man,  most  of  the  right  arm,  with  the  handle 
of  the  sword  and  beginning  of  the  blade,  the  lower  half  of  the  nose, 
the  left  forearm  and  forefinger,  and  the  part  of  the  cloak  which  stands 
out  from  the  back.  On  the  woman,  the  nose,  the  left  arm  above  the 
elbow,  the  right  hand  and  wrist,  the  four  smaller  toes  of  the  right  foot, 
the  piece  of  garment  that  falls  in  front  of  the  left  shoulder.  Also  the 
supports  between  the  two  figures,  and  small  pieces  inserted  in  various 
places. 


34 


Casts  from  Antique  Sculpture 


This  group,  like  the  Dying  Galatian  (No.  1066),  is  most  probably 
copied  from  the  bronze  figures  erected  by  Attalos  I at  Pergamon  in 
commemoration  of  his  victories  over  the  Galatians  or  Mysian  Gauls. 

1093 

BAS-RELIEF 

From  the  Original  Marble,  in  the  Museo  Bourbonico,  Naples 

According  to  the  names  on  this  cast  it  represents  Antiopa  between 
her  sons,  Zethus  and  Amphion,  who  released  their  mother  from  cruel 
bondage  by  slaying  their  uncle,  Lycus,  her  oppressor;  but  over  the 
figures  of  the  original  bas-relief  are  the  names  of  Hermes  (Mercury), 
Eurydice,  and  Orpheus,  indicating  the  meeting  of  the  latter  with  his 
lost  wife  in  the  realm  of  Pluto, 


1094 

FRAGMENT  OF  A WINGED  FIGURE 
From  the  Original  Marble,  in  the  Vatican 


1095 

ETRUSCAN  ARM 

Original  Bronze,  in  the  Vatican  L.,  4 ft. 

Found  in  the  harbor  of  Civita  Vecchia  in  1835,  and  supposed  to  be 
part  of  a statue  of  Neptune. 


1096 

BUST  OF  AGRIPPA  DE  GABIES 
Original  Marble,  in  the  Louvre  H.,  1 ft.  7 in. 


1097 

BUST  OF  ANTINOUS 

Original  Marble,  in  the  Louvre  H.,  1 ft.  6 in. 


1098 

BUST  OF  ANTONIUS  PIUS 

Original  Marble,  in  the  Vatican  H.,  1 ft.  4 in. 

The  original  was  found  by  Gavin  Hamilton,  in  Hadrian’s  Villa. 


Casts  from  Antique  Sculpture 


35 


1099 

BUST  OF  COMMODUS 

Original  Marble,  in  the  British  Museum  H.,  1 ft.  4 in. 

1100 

BUST  OF  CARACALLA 

Original  Marble,  in  the  Louvre  H.,  1 ft.  8 in. 

1101 

BUST  OF  VITELLIUS 
Original  Marble,  in  the  Louvre 

1102 

HEAD  OF  APOLLO 

Original  Marble,  in  the  British  Museum  H.,  1 ft.  6j  in. 

Attributed  to  the  school  of  Lysippus. 

1103 

BUST  OF  DIANA  DI  GABIA 

Original  Marble,  in  the  Louvre  H.,  1 ft.  8j  in. 


1104 

SLAB  FROM  THE  FRIEZE  OF  THE  PARTHENON 
From  the  Original  (Elgin)  Marble,  British  Museum 

1105 

FRAGMENT  —A  MASK 
Original  Marble,  in  the  Vatican 

1106 

FRAGMENT  — A HUNTER 
Original  Marble,  in  the  Vatican 


1107 

FRAGMENT  — A WALKING  FIGURE 
Original  Marble,  in  the  Vatican 


36 


Casts  from  Antique  Sculpture 


1108 

FRAGMENT  — FRIEZE  OF  TRAJAN’S  FORUM,  ROME 
Original  Marble,  in  the  Vatican 


1109 

BUST  OF  THE  CROWNED  AUGUSTUS  (CAESAR) 
Original  Marble,  in  the  Louvre  H.,  2 ft. 

1110 

BUST  OF  THE  YOUNG  AUGUSTUS  (CAESAR) 
Original  Marble,  in  the  Vatican  H.,  1 ft.  5j  in. 

1111 

BUST  OF  SCIPIO  AFRICANUS 
Original  Marble,  in  the  Vatican  H.,  2 ft.  1 in. 

1112 

MARCUS  AURELIUS 

Original  Marble,  in  the  Louvre  H.,  2 ft. 

Found  at  Acqua  Traversa. 


1113 

BUST  OF  A BARBARIAN 

Original  Marble,  in  the  British  Museum  H.,  1 ft.  6 in. 

The  original  of  this  cast  was  found  in  Trajan’s  Forum,  Rome,  where 
many  similar  ones  were  discovered,  fastened  as  trophies  to  the  walls. 

1114 

HEAD  OF  SENECA 

Original  Marble,  in  the  Louvre  H.,  1 ft.  1 in. 


1115 

BUST  OF  EURIPIDES 

Original  Marble,  in  the  Vatican  H.,  1 ft.  in. 


Casts  from  Antique  Sculpture 


37 


1116 

BUST  OF  ARIADNE 

Original  Marble,  Capitol  Museum,  Rome  H.,  2 ft.  10  in. 

Often  called  The  Young  Bacchus. 

1117 

BUST  OF  ANTINOUS  AS  BACCHUS 
Original  Marble,  in  the  British  Museum  H.,  2 ft. 

The  original  of  this  head  was  found  in  the  Villa  Pamfili,  with  some 
fragments  of  a wall-statue  of  which  it  had  been  a part. 

1118 

CAST  OF  A SMALL  MODEL  OF  THE  RUINS  OF  THE  ACROP- 
OLIS AT  ATHENS 

1119 

NIKE  FROM  SAMOTHRAKE 

(Statue  in  the  Louvre)  H.,  8 ft.  8 in. 

Of  Parian  Marble.  Found  in  the  Island  of  Samothrake  in  1863  by 
M.  Champoiseau,  French  Consul  at  Adrianople,  and  transported  thence 
to  Paris.  Excepting  the  pieces  by  which  the  fragments  of  the  wings 
are  joined,  there  are  no  restorations. 

This  statue  was  set  up  by  Demetrios  Poliorketes  to  celebrate  a naval 
victory  in  306  B.  C.  The  custom  of  setting  up  such  figures  to  com- 
memorate victories  had  long  been  familiar  to  the  Greeks.  The  Goddess 
was  represented  as  standing  on  the  prow  of  a ship  blowing  a trumpet 
and  holding  a trophy.  The  head  and  arms,  with  part  of  the  wings, 
are  now  wanting;  but  there  is  much  to  admire  in  what  remains,  in 
the  beautiful  sweep  of  the  drapery  which  is  blown  close  around  her 
body  by  the  wind,  and  floats  out  beyond  on  her  left  side. 

(See  No.  1127.  A reduced  copy  of  the  statue,  including  the  pedestal.) 

1120 

POSEIDIPPOS 

Pentelic  Marble  (Seated  Statue,  in  the  Vatican)  H.,  4 ft.  in. 

Restorations:  The  end  of  the  nose  and  the  left  thumb. 

Poseidippos,  whose  portrait  is  identified  by  the  inscription  on  the 
base,  was  the  last  of  the  poets  of  the  New  Attic  Comedy,  and  flourished 
after  the  death  of  Menander,  291  B.  C. 


38 


Casts  from  Antique  Sculpture 


1121 

MENANDER 

Pentelic  Marble  (Seated  Statue,  in  the  Vatican)  H.,  5 ft. 

Date  of  discovery  unknown.  Together  with  its  neighbor,  Posei- 
dippos.  No.  1120,  it  appears  to  have  stood  for  several  centuries  in 
the  Church  of  St.  Lorenzo  in  Panisperna  on  the  Viminal,  Rome, 
whence  they  were  removed  by  Sixtus  V (1585-1590)  to  his  Villa  Mon- 
talto,  now  Grazioli.  They  remained  there  until  the  time  of  Pius  VI 
(1775-1800),  who  purchased  and  removed  them  to  the  Vatican. 

Restorations:  The  left  hand,  with  the  scroll;  the  end  of  the  nose; 
and  part  of  the  right  foot. 

Menander  died  in  291  B.  C.,  at  the  age  of  fifty- two,  and  this  por- 
trait evidently  represents  him  in  the  last  years  of  his  life. 


1122 

BOXER  RESTING 

H.,  4 ft.  3 in. 

Original  Bronze,  in  the  collection  of  the  National  Government  in 
the  Baths  of  Diocletian,  Rome. 

Found  in  the  spring  of  1885  among  the  foundation- walls  of  Aurelian’s 
Temple  of  the  Sun,  on  the  Quirinal  Hill,  Rome. 

Restorations:  The  end  of  the  left  thumb,  a piece  of  the  right  thigh, 
and  the  seat. 


1123 

THREE  SLABS  IN  RELIEF 

From  the  Original  in  Marble,  in  the  National  Museum,  Athens, 
Greece. 

The  middle  slab  represents  the  musical  competition  between  Apollo 
and  the  flute-player  Marsyas,  with  the  Scythian  between  them  pre- 
pared to  flay  the  defeated  competitor.  On  the  other  two  slabs  are  six 
muses  with  their  instruments. 

Gift  of  Miss  Bessie  J.  Kibbey, 


1124 


PHOTOGRAPH  OF  THE  RUINS  OF  THE  PARTHENON  AT 

ATHENS 

Giving  a view  of  the  East  Pediment,  from  which  was  taken  the  statues 
represented  by  the  casts  on  the  two  large  pedestals 


Casts  from  Antique  Sculpture 


39 


1125 

PHOTOGRAPH  OF  THE  ACROPOLIS  from  the  Stadium  Hill 

1126 

PHOTOGRAPH  OF  THE  ACROPOLIS  from  the  Hill  of  the 

Nymphs 

1127 

Reduced  copy  of  Nike  from  Samothrake,  including  original  pedestal. 
(See  No.  1119) 

1128 

SATYR  PLAYING  THE  SCABELLUM  (Dancing  Faun) 
Original  Marble,  in  the  Gallery  of  the  Uffizi,  Florence  H.,  4 ft.  10§  in. 

Date  and  place  of  discovery  unknown.  Restorations:  The  greater 
part  of  the  head,  both  arms,  the  left  heel,  toes  of  the  right  foot,  and 
possibly  the  tail. — [Dutschke.] 


1129 

ANAKREON,  THE  LYRIC  POET  OF  TEOS 
Original  Marble,  in  the  Villa  Borghese,  Rome  H.,  5 ft.  7 in. 

Seated  figure.  Discovered  in  the  16th  century  at  Monte  Calvo,  in 
Sabina. — [Brunn.]  Restoration:  The  nose. 

1130 

MARS  AND  CUPID 

Original  Marble,  in  the  Villa  Ludovisi,  Rome  H.,  5 ft.  4 in. 

Found  near  the  Palazzo,  Santa  Croce,  Rome.  Executed  in  the  second 
half  of  the  4th  century  B.  C. 

The  god  Ares  (Mars)  is  sitting  in  a careless,  easy  attitude,  absorbed 
in  a dreamy  reverie.  His  left  knee  is  elevated  and  clasped  by  his  hands. 
The  shield  is  resting,  unused,  at  his  side;  his  left  hand  inactively  and 
almost  absently  holds  the  sword.  The  Cupid  playing  at  his  feet  indi- 
cates to  us,  moreover,  that  it  is  love  for  Venus  which  has  overcome  the 
God  of  Battles.  A mark  on  the  left  shoulder  seems  to  indicate  that 
Venus  herself  stood  behind  him,  and  that  thus  originally  the  work  was 
a group.  The  treatment  of  the  slender  figure,  especially  the  type  of 
head,  with  its  refined  features  and  flowing  hair,  calls  to  mind  the  Apoxy- 
omenus  of  Lysippus. 


40 


Casts  from  Antique  Sculpture 


1131 

TRITON  (Mezza) 

Original  in  the  Vatican  H.,  3 ft.  6 in. 

Found  by  Giuseppe  Buti  at  St.  Angelo  in  the  Tiburtino. 

This  is  the  statue  between  which  and  the  Ceres  of  Cnidus  Brunn 
traces  so  many  resemblances.  If  this  Triton  formed  part  of  the  famous 
work  by  Scopas,  then  these  resemblances  offer  an  argument  that  the 
Ceres  was  also  by  Scopas.  The  statue  is  but  a torso;  the  parts  from  the 
waist  down  are  wanting,  also  the  forearms.  The  grand  style  of  this 
extraordinary  torso  makes  it  one  of  the  most  beautiful  and  one  of  the 
most  precious  of  all  representations  of  marine  divinities.  His  features, 
though  mannered,  are  filled  with  an  ideal  beauty  and  a nobility  which 
make  them  becoming  to  a god,  though  we  must  refer  them  to  a mon- 
ster. The  mouth,  partly  open,  has  an  expression  that  is  hardly  human. 
The  scaly  skin,  tied  under  the  throat,  recalls  the  hide  worn  by  Hercules, 
or  by  the  inebriate  followers  of  Bacchus.  The  faun’s  ears  relate  to 
Bacchus,  or  they  may  have  been  added  in  order  that,  at  the  first  glance, 
a monster  could  be  recognized. 


1132 

MEROPE  AND  .EPYTUS  (ORESTES  AND  ELECTRA) 
Original  Marble,  in  the  Villa  Ludovisi,  Rome  H.,  6 ft.  9 in. 

Restorations:  The  right  arm  of  iEpytus  and  the  left  hand  of  Merope. 

This  beautiful  group,  executed  by  the  sculptor  Menelaus,  of  Rome, 
depicts  the  meeting  of  a mother  with  her  long-lost  son  at  the  moment 
when,  as  Welcker  says,  the  first  agitating  emotion  at  meeting  is  fol- 
lowed by  calm  and  joy.  After  various  interpretations  have  been  at- 
tempted, such  as  Penelope  and  Telemachus,  Theseus  and  iEthra, 
Orestes  and  Electra,  Otto  Jahn  at  length  has  given  an  explanation  of 
the  scene  which  more  than  any  other  elucidates  the  work.  It  is  iEpytus 
who  returns  after  a long  absence  to  avenge  his  mother,  Merope,  on  her 
consort  Polyphontes,  the  murderer  of  her  first  husband.  In  order  to 
make  sure  of  the  offender,  iEpytus  has  assumed  to  be  the  murderer  of 
the  son.  Merope,  beside  herself  with  grief,  is  on  the  point  of  avenging 
her  child  on  the  stranger,  when  the  former  pupil  is  recognized  by  an 
old  tutor,  and  the  son  is  restored  to  the  mother.  This  subject,  which  is 
dramatically  treated  by  Euripides,  and  also  employed  by  the  Roman 
poet,  Ennius,  is  depicted  in  the  marble  work  at  the  touching  moment 
of  recognition.  The  group  exhibits  fine  action  and  depth  of  feeling; 
but  the  execution,  from  the  great  care  displayed  in  the  arrangement  of 
the  drapery,  is  not  free  from  forced  elegance,  and  this  takes  away  from 
the  freshness  of  the  first  impression. 


Casts  from  Antique  Sculpture 


41 


1133 

L’ARROTINO,  BARBARIAN  EXECUTIONER  WHETTING 
HIS  KNIFE  FOR  THE  FLAYING  OF  MARSYAS 

Original  Marble  in  the  Gallery  of  the  Uffizi  (Tribune,  Florence) 

H.,  3 ft.  7 in.;  L.,  3 ft.  7 in. 

Found  between  the  years  1534  and  1538,  at  Rome. 

Burckhardt,  in  his  ‘ * Ciceroni,”  ventures  the  supposition  that  the 
statue  is  not  antique,  but  a work  of  the  time  of  Michael  Angelo.  He 
even  suggests  that  the  great  master  himself  was  the  designer.  The 
form  of  the  head,  the  character  of  the  hair,  and  shape  of  the  eye  are, 
according  to  Burckhardt,  essentially  modern. 


1134 

THRONE  OF  THE  TEMPLE  OF  VENUS,  REPRESENTING 
THE  BIRTH  OF  VENUS 

Original  Marble,  now  in  the  National  Museum,  Rome 

H.,  2 ft.  11  in.;  L.,  4 ft.  8 in.;  W.,  2 ft.  5 in. 

A work  of  the  Archaic  style.  Discovered  about  the  year  1893  in 
the  excavations  of  the  Villa  Boncompagni-Ludovisi,  in  Rome. 

1135 

ALEXANDER  SARCOPHAGUS  (so-called) 

Original  Pentelic  Marble,  in  the  Imperial  Museum,  Constantinople 

H.,  3 ft.  4 in.;  L.,  20  ft.  9 in. 

Found  at  Sidon  in  1887 

The  work,  as  placed  on  the  wall,  represents  both  sides  of  the  sar- 
cophagus — the  battle  side  and  the  hunt  side. 

The  photograph  hanging  over  the  work  is,  according  to  the  statement 
of  M.  Theodore  Reinach,  the  distinguished  archaeologist,  * ‘ a general 
view  of  the  most  important  of  the  Greek  sarcophagi  discovered  in  1887, 
in  the  necropolis  of  Azaa,  near  Saida,  and  transported  to  the  new 
museum  at  Constantinople.  The  monument  is  in  Pentelic  marble;  its 
length  is  3.30  meters  (10.8  feet),  and  its  height  about  2.50  meters  (8.2 
feet).  The  photograph  conveys  some  idea  of  the  magnificence  and 
exquisite  taste  of  the  architectural  decoration  of  this  princely  tomb.  The 
four  sides  and  the  two  tympana  of  the  pediments  bear  sculptures  in 
very  high  relief,  of  great  finish  in  execution,  and  with  rich  polychrome 
coloring,  which  remains  in  almost  perfect  preservation.  The  subjects 
are  episodes  of  hunting  and  war  in  which  Greeks  and  Persians  take 


42 


Casts  from  Antique  Sculpture 


part,  easily  distinguishable  by  the  difference  of  their  dress.  The  figure 
of  Alexander  the  Great  appears  at  least  three  times.  It  is  plainly  char- 
acterized as  well  by  the  features,  and  the  inclination  of  the  head  on  the 
left  shoulder,  as  by  the  details  of  the  costume, — the  royal  fillet,  the  lion- 
skin,  the  helmet  with  two  large  white  plumes,  etc.  As  this  sarcopha- 
gus is  assigned  by  its  style  (which  is  very  closely  akin  to  that  of  the 
sculptures  of  the  Mausoleum  of  Halicarnassus  in  the  British  Museum) 
to  die  last  years  of  the  4th  century  B.  C.,  it  follows  that  we  have 
here  the  oldest  and  most  authentic  portraits  of  the  King  of  Macedon  exe- 
cuted, it  may  be,  during  his  lifetime,  or  within  a very  short  time  after 
his  death.  These  portraits  explain  the  title  ‘ Sarcophagus  of  Alexander,’ 
commonly  given  to  our  sarcophagus.  It  has  been  supposed  that  it 
might  have  inclosed,  if  not  the  bones  of  Alexander  the  Great  himself, 
whose  tomb  was  at  Alexandria,  at  least  those  of  one  of  his  lieutenants. 
But  close  study  of  the  reliefs  and  even  of  the  architectonic  decoration, 
in  which  appear  distinctively  Oriental  motives,  does  not  permit  the 
entertaining  of  that  hypothesis.  The  sarcophagus  is  undoubtedly  that 
of  a great  Persian  lord,  satrap,  or  general,  who,  after  fighting  to  the 
end  for  his  country’s  cause,  had  at  last  joined  the  fortunes  of  the  Mace- 
donian conqueror  and  been  admitted  to  his  intimacy.  In  the  compo- 
sition which  appears  in  our  photograph  this  satrap  occupies  the  place 
of  honor.  He  is  fighting  with  a lion  that  has  made  a furious  attack 
upon  his  horse.  Several  hunters  hurry  to  his  aid.  The  one  immedi- 
ately to  the  satrap’s  left  is  Alexander  the  Great,  who  wears  the  kingly 
fillet,  the  buskins,  and  the  purple  mantle.” 

Copied  from  the  original  by  Joseph  Lindon  Smith 

Born  at  Pawtucket,  R.  I.,  1864.  Pupil  of  Museum  of  Fine  Arts,  Bos- 
ton; Julian  Academy,  in  Paris.  Member  Mural  P.  Copley  Society, 
Boston,  1882, 


Cast  from  the  West  Bronze  Gate  of  the  Baptistry 
at  Florence  (See  No.  1300) 


Casts  from  the  Renaissance 

(Date:  Commencement  of  the  15th  Century) 

1300 

CAST  FROM  THE  WEST  BRONZE  GATE  OF  THE 
BAPTISTRY  AT  FLORENCE 
Lorenzo  di  Cione  Ghiberti 

Born  1378;  died  1455. 

These  gates  are  historically  of  great  interest,  as  they  represent  the 
main  work  of  a distinguished  artist’s  life;  for  Ghiberti,  when  he  began 
them,  was  forty-six  years  of  age,  and  when  he  finished  them  he  was  an 
old  man  of  seventy-four. 

(The  gates  were  finished  in  1447,  but  they  were  not  gilded  until  the 
month  of  April,  1452.) 

This  cast  was  brought  from  the  South  Kensington  Museum,  Lon- 
don, and  consists  of  ten  square  panels  containing  designs  from  the 
Old  Testament,  each  design  illustrating  three  or  four  incidents. 

The  left  highest  panel  shows  the  Creation  of  Adam  and  Eve,  the  For- 
bidden Fruit,  and  the  Expulsion  from  Eden.  On  the  right  panel  op- 
posite are  the  Offerings  of  Cain  and  Abel,  the  Killing  of  Abel,  Man’s 
Labor,  and  Cain  with  his  Maker. 

The  left  panel  below  has  the  Ark  after  the  Deluge,  Noah’s  Sacrifice 
and  Inebriation.  On  the  right  are  the  Sacrifice  of  Isaac,  Servants  at 
the  Foot  of  the  Mount,  and  Abraham  with  the  Three  Angels. 

The  left  central  panel  contains  Jacob  and  Esau;  and  on  the  right, 
Joseph  and  His  Brethren,  Their  Cruelty,  Their  Meeting  in  Egypt,  and 
the  Cup  in  Benjamin’s  Sack. 

The  left  panel  below  the  center  shows  Moses  Receiving  the  Law, 
and  the  People  at  the  Foot  of  the  Mount.  On  the  right  are  Joshua  be- 
fore Jericho,  and  the  Division  of  the  Tribes. 

The  lowest  panel  on  the  left  contains  David  and  Goliath;  and  on 
the  right,  Solomon  and  the  Queen  of  Sheba. 

Among  the  statuettes  in  the  upright  panels  are  Samson  with  the  Pillar, 
Joshua  in  Armor,  Judith  with  the  Head  of  Holofernes,  Jephthah’s 
Daughter.  Among  the  heads  are  two  on  a line  with  the  top  of  the  second 
panel,  representing  the  artist  Ghiberti  (the  bald  one  on  the  right)  and 
Bartoluccio,  his  father-in-law. 

The  outer  panels,  bearing  fruits  and  flowers,  were  finished  by 
Ghiberti’s  son,  the  artist  having  died  ere  the  completion  of  his  work, 
at  the  age  of  seventy-four  years. 

The  cast  of  this  gate,  as  it  stands,  is  18  feet  2 inches  high  by  12  feet 

6 inches  wide,  exclusive  of  the  frame,  which  makes  it  altogether  19  feet 

7 inches  high  by  14  feet  6 inches  wide. 

43 


44 


Casts  from  the  Renaissance 


1300 A 

SACRIFICE  OF  ISAAC 

Size  (inside  of  case),  17  in.  x 17  in. 
Lorenzo  di  Cione  Ghiberti 
Born  1378;  died  1455. 

This  is  the  so-called  trial  plate  which  Ghiberti  designed  and  executed 
when  he  competed  for  the  commission  of  the  Gates  of  the  Baptistry, 
Florence. 

1301,  1302,  1303,  1304,  1305,  1306,  1307,  1308,  1309 

GROUP  OF  NINE  BAS-RELIEFS  OF  NYMPHS  OF  THE 
FOUNTAIN  OF  INNOCENTS 

From  the  Original  Marbles,  in  the  Louvre 

Jean  Goujon 

Born,  at  Paris,  1530;  died  1572.  He  has  been  called  the  restorer 
of  sculpture  in  France.  (Two  of  these  bas-reliefs  inserted  in  wall  at 
head  of  main  stairway.) 

1310 

BAS-RELIEFS  OF  THE  FOUR  EVANGELISTS 

Original  in  Marble,  in  the  Louvre,  from  the  Roodloft  of  St.  Germain 
l’Auxerrois.  The  small  panels  represent  Religion,  Faith,  and 
Strength 

Jean  Goujon 

1311,  1312,  1313,  1314 
BAS-RELIEFS  OF  SEA-NYMPHS 
Original  Marbles,  in  the  Louvre,  formerly  in  the  Port  St.  Antoine 

Jean  Goujon 

1315 

BAS-RELIEF  FROM  THE  TOMB  OF  CARDINAL  AND 
CHANCELLOR  DUPRAT 

Original  Marble,  in  the  Louvre 

Jean  Goujon 


Casts  from  the  Renaissance 


45 


1316 

BAS-RELIEF  OF  HISTORY  RECORDING  THE  WORKS  OF 
PRESIDENT  J.  A.  Du  THOU,  COUNSELLOR  AND 
HISTORIAN 

Original  Bronze,  in  the  Louvre 

Francois  Anguier 

Born  at  Eau,  in  Normandy,  1604;  died,  at  Paris,  1669. 

1317 

BAS-RELIEF  OF  VICTORY 
Original  in  the  Louvre 

Jacquet 

1318 

FLYING  MERCURY 

Original  Bronze,  in  the  National  Gallery,  Florence.  Executed  about 
1560  H.,  5 ft.  1 in. 

Gio,  or  Gian,  Bologna  (John  of  Bologna) 

Born  at  Douai,  in  Flanders,  1524;  died  1608. 

1319 

DAVID  WITH  HEAD  OF  GOLIATH 
Original  Bronze,  in  the  National  Gallery,  Florence  H.,  5 ft.  1 in. 
Donato  di  Betto  Bardi  (Donatello) 

Contemporary  with  Ghiberti;  died  1468. 

1320 

THE  THREE  GRACES,  or  CHARITIES 
Original  Marble,  in  the  Louvre.  1560  H.,  6 ft.  6 in. 

Germain  Pilon 

The  date  of  his  birth  is  not  known  with  certainty;  it  has  been  given 
as  1520  and  as  1515.  Died  about  1590. 

This  example  of  the  Renaissance  of  French  sculpture  was  executed 
for  Catharine  of  Medicis  in  memory  of  her  husband,  Henry  II  of  France, 
whose  heart  was  placed  in  the  original  urn,  supported  on  the  heads  of 
the  three  female  figures,  standing  back  to  back,  with  linked  hands, 
upon  a triangular  pedestal.  These  figures  represent  Catharine  herself. 


46 


Casts  from,  the  Renaissance 


the  Duchesse  d’Etampes,  and  Madame  Villeroy,  three  of  the  fairest 
women  of  that  time.  This  work  was  cut  out  of  a single  block  of  marble. 
The  pedestal  was  made  by  a different  hand,  and  bears  on  its  three 
faces  inscriptions  in  Latin,  to  the  following  effect: 

‘‘Here  Catharine  has  deposited  the  heart  of  the  king, her  husband, 
wishing  she  could  bury  it  in  her  own  bosom.” 

* ‘ The  united  heart  of  both  testifies  before  men  endearing  love  — a 
subdued  spirit  before  God.” 

‘ ‘ The  Three  Graces  (or  Charities)  rightfully  bear  on  their  heads  a 
heart  once  the  seat  of  the  graces  (or  charities)  — a heart  that  aspired 
to  the  highest  things.” 

This  monument  formerly  stood  in  the  Chapelle  d’Orleans,  Church 
of  the  Celestins. 

1321 

COLOSSAL  BUST  OF  DAVID 

H.,  2 ft.  10  in. 

Michael  Angelo  Buonarroti 
Born  1475;  died  1564. 

This  cast  is  taken  from  the  original  colossal  statue  in  marble,  19  feet 
high,  in  Florence,  representing  David  about  to  hurl  the  stone  at  Goliath. 

1322,  1323 

THE  PRISONERS,  or  SLAVES 

Original  Marble,  in  the  Louvre  H.,  7 ft.  3 in. 

Michael  Angelo  Buonarroti 

These  statues  were  designed  for  a grand  monument  to  Pope  Julius  II, 
planned  by  Michael  Angelo,  but  never  executed.  The  artist  gave  them 
to  a friend  who  had  nursed  him  in  illness,  and  he  presented  them  to 
Francis  I,  who  in  turn  gave  them  to  the  Constable  Montmorency  for  his 
Chateau  d’Ecouen.  During  the  troubles  of  the  Revolution  in  1793 
they  were  found  in  the  stables  of  the  Due  de  Richelieu,  and  were 
bought  for  the  Republic.  They  are  now  in  the  Louvre,  and  are  the 
only  great  works  of  Michael  Angelo  in  France.  They  were  taken  to 
Florence  in  1875  to  swell  the  memorials  of  the  sculptor’s  mighty  genius 
at  the  celebration  of  his  birthday. 

1324 

CUPID 

Original  Marble,  in  the  Kensington  Museum  H.,  4 ft.  6 in. 

Michael  Angelo  Buonarroti 
This  statue  was  brought  from  the  Campagna  Collection. 


Casts  from  the  Renaissance 


47 


1325 

SITTING  STATUE  OF  LORENZO  DE  MEDICI 

H.,  5 ft.  8 in. 

Michael  Angelo  Buonarroti 

The  original,  in  the  Church  of  St.  Lorenzo,  Florence,  with  a similar 
statue  of  his  brother,  Giuliano,  was  erected  by  order  of  Pope  Leo  X. 
Below  them,  on  the  curved  tops  of  their  sarcophagi,  recline  the  figures 
of  Dawn  and  Twilight  under  Lorenzo,  and  Day  and  Night  under 
Giuliano.  Reduced  copies  of  these  symbolic  figures,  Nos.  1339  to 
1342,  furnish  an  idea  of  the  general  form  of  the  monuments. 

1326 

HEAD  OF  THE  STATUE  OF  GIULIANO  DE  MEDICI 

H.,  1 ft.  6 in. 

Michael  Angelo  Buonarroti 

1327 

MASK  OF  MOSES 

H.,  2 ft.  7 in. 

Michael  Angelo  Buonarroti 

From  the  original  of  the  colossal  statue  of  Moses,  executed  in  marble 
for  the  monument  of  Pope  Julius  II 


1328 

BAS-RELIEF  OF  AN  ALTAR-PIECE 

H.,  4 ft.  3 in.;  W.,  4 ft.  4 in. 
Mino  da  Fiesole 

Born  1400;  died  1486. 

The  original  of  this  bas-relief  in  marble,  in  the  Cathedral  of  Fiesole, 
Florence,  represents  the  Virgin  between  St.  Remigius  and  St.  Leonhard, 
with  the  infant  Jesus  below,  and  St.  John  worshiping  him.  One  of  the 
saints  directs  the  sitting  figure,  holding  a crutch,  to  the  Saviour. 


1329 

BUST  OF  BISHOP  LIONARDI  SALUTATI 

H.,  1 ft.  10  in. 

Mino  da  Fiesole 

From  the  original  marble  monument  in  the  Cathedral  of  Fiesole. 


48 


Casts  from  the  Renaissance 


1330 

FIVE  BAS-RELIEFS 

Each,  H.,  2 ft.  7%  in. ;W., 2 ft.  5 Jin. 
Benedetto  da  Majano 
Born  1442;  died  1498. 

These  reliefs  are  from  the  marble  pulpit  of  the  Church  of  Santa 
Croce,  Florence,  and  represent  scenes  in  the  life  of  St.  Francis,  as 
follows: 

A 

MARTYRDOM  OF  FIVE  BRETHREN  OF  THE  ORDER  IN 
MAURITANIA 

B 

DEATH  OF  ST.  FRANCIS 
C 

ST.  FRANCIS  RECEIVING  THE  STIGMATA,  OR  IMPRESS, 

OF  THE  FIVE  WOUNDS  OF  CHRIST 

D 

ST.  FRANCIS  WALKING,  UNINJURED,  THROUGH  FIRE 
BEFORE  THE  SULTAN 

E 

POPE  HONORIUS  CONFIRMING  THE  RULES  OF  THE 
ORDER  OF  ST.  FRANCIS 

1331 

HEAD  OF  ST.  GEORGE 
Donato  di  Betto  Bardi  (Donatello) 

From  the  marble  statue  of  St.  George,  clad  in  armor,  with  cross- 
emblazoned  shield,  which  stands  in  an  external  niche  of  Or  San  Michele, 
Florence. 

1332 

BUST  OF  MATTEO  PALM3ERI 
Benedetto  da  Majano 

1333 

BUST  OF  FILIPPO  STROZZI 
Benedetto  da  Majano 


Casts  from  the  Renaissance 


49 


1334 

BUST  OF  PIETRO  MELLINI 
Benedetto  da  Majano 

Originals,  in  Marble,  of  the  above  three  busts  are  in  Florence. 


1335 

DAY 

1336 
NIGHT 

1337 
DAWN 

1338 

TWILIGHT 

Michael  Angelo  Buonarroti 

The  above  four  statuettes  are  reduced  copies  from  the  originals  over 
the  tomb  of  Lorenzo  and  Giuliano  de  Medici,  at  Florence. 

1339 

SINGING  BOYS 

Alto-relief.  H.,  3 ft.  5 in.;  W.,  2 ft.  2 in. 

Luca  (Della  Robbia) 

Born  1400;  died  1481. 

Original  in  Marble,  in  the  National  Museum,  Florence.  It  was 
made  about  1440  A.  D.,  for  the  balustrade  of  an  organ-loft,  but  never 
set  up. 

1340 

ARTHUR,  KING  OF  ENGLAND 
Original  in  Bronze.  Dated  1513  H.,  6 ft.  11  in. 

The  monument  of  the  Emperor  Maximilian  I occupies  the  centre  of 
the  nave  of  the  Franciscan  Church,  or  Hofkirk,  at  Innsbruck. 

Maximilian  is  represented  in  a kneeling  posture  on  a massive  marble 
sarcophagus,  surrounded  by  28  statues  in  bronze  of  his  heroic  ancestors 


50 


Casts  from  the  Renaissance 


in  the  guise  of  mourners  and  torch-bearers.  Among  these  statues,  and 
the  finest  of  all,  stands  that  of  King  Arthur,  attributed  to  Peter  Vischer, 
of  Nuremberg. 

1341 

THE  VISITATION  OF  THE  VIRGIN  MARY  TO  ST.  ELIZA- 
BETH 

H.,  4 ft.  9 in. 

Original  attributed  to  Della  Robbia,  in  the  Church  of  San  Giovanni 
fuor  Civitas-Pistoja. 

1342 

DEATH  AND  TRANSITION  OF  THE  VIRGIN 

H.,  11  ft.  2 in.;  W.,  7 ft.  3 in. 
Andrea  di  Cione  Orcagna 
Born  near  the  beginning  of  the  14th  century. 

The  original  is  a portion  of  the  Marble  Tabernacle  of  the  Virgin  in 
the  Chapel  of  Or  San  Michele,  Florence.  (Wall  panel  inserted  at  head 
of  main  stairway.) 

1343 

PIETA  GROUP 

Original  Marble,  in  the  Chapel  in  St.  Peter’s,  Rome  H.,  5 ft.  10  in. 
Michael  Angelo  Buonarroti 

This  statue  was  produced  by  Michael  Angelo  in  1499,  when  he  was 
just  twenty-five  years  old.  It  is  perhaps  the  most  complete  part  of 
modern  sculpture — genuinely  plastic  in  design  and  constructed  with  the 
finest  feeling.  The  form  of  the  nude  figure  of  Christ  is  treated  with 
such  justness  and  modesty  that  the  spiritual  expression  of  the  beautiful 
head  obtains  its  full  effect.  The  whole  work,  however,  culminates  in 
the  noble  and  elevated  sorrow  expressed  in  the  countenance  of  the 
mother. 

It  is  the  only  statue  which  Michael  Angelo  ever  signed  with  his  name. 
This  is  cut  on  the  Virgin’s  shoulder-belt. 

1344 

SAINT  JOHN  BAPTIST 

Original  in  Marble,  in  the  National  Museum,  Florence  H.,  4 ft.  5 in. 
Benedetto  da  Majano 
Born  1442;  died  1497. 


Casts  from  the  Renaissance 


51 


1345 

JUDITH  AND  HOLOFERNES 

Original  Bronze,  in  the  Loggia  de’  Lanzi,  Florence,  since  1504 

H.,  17  ft.  6 in. 

Donato  di  Betto  Bardi  (Donatello) 

Contemporary  with  Ghiberti.  Died  1468. 

After  the  expulsion  of  Piero  de  Medici  it  was  taken  from  the  Plazzo 
de  Medici  to  the  Ringhiera  of  the  Plazzo  Vecchio. 


1346 

SEPULCHRAL  MONUMENT  — PORTRAIT  EFFIGY  OF 
ILARIA  DEL  CARRETTO 

Original  in  the  Cathedral  of  St.  Martino  at  Lucca 

H.,  3 ft.  10  in.;  L.,  7 ft.  6 in.;  W.  3 ft. 

Jacopo  della  Quercia 

Paolo  Giunigi,  for  the  time  being  “Signore”  or  political  master  of 
that  city,  had  lost  his  wife  Ilaria,  daughter  of  the  Marchese  del  Carretto, 
and  desired  to  erect  a monument  to  her  memory.  This  was  in  1413, 
and  Jacopo  della  Quercia  was  employed  on  the  work.  He  produced  a 
rich  example  of  that  type  of  structure  in  which  the  effigy  of  the  de- 
ceased reclines  on  a sarcophagus  supported  on  a basement  and  over- 
arched by  a decorated  canopy,  which  had  been  first  introduced  into 
Tuscan  art  by  Giovanni  Pisano  in  the  13th  century,  and  survived 
with  little  organic  change,  only  with  the  substitution  of  classical  for 
Gothic  forms  of  design  and  molding,  until  the  time  of  Andrea  Sanso- 
vino, in  the  16th.  But  within  twenty  years  of  the  completion  of 
Jacopo’s  work  the  fury  of  the  Lucchese  populace  broke  out  against 
their  ruler  Giunigi.  He  was  overthrown  and  cast  out  of  the  city,  and 
during  the  outbreak  even  the  monument  he  had  raised  in  honor  of  his 
wife  was  desecrated.  Its  central  figure,  however,  the  recumbent  effigy 
of  the  lady,  with  the  carved  sarcophagus  on  which  it  rests,  escaped  de- 
struction, and  is  still  to  be  seen  where  it  was  then  deposited, — on  the 
floor  of  the  church,  near  the  entrance  to  the  sacristy, 


1347 

BACCHUS 

Original  Marble,  in  the  National  Museum,  Florence  H.,  4 ft.  8 in. 
Jacopo  Sansovino  (1477-1570) 


52 


Casts  from  the  Renaissance 


1348 

ANDROMEDA  DELIVERED  FROM  THE  SEA-MONSTER  BY 

PERSEUS 

From  the  Bronze  Model  in  the  National  Museum,  Florence 

H.,  2 ft.  10  in.;  W.,  3 ft.  2 in. 
Benvenuto  Cellini 


1349 

ARCHER  (Bogenschutzen  Group) 

H.,  3 ft.  10  in. 

Attributed  to  Peter  Vischer 

From  the  Original  Bronze  in  the  Germanic  Museum,  Nuremberg. 
It  is  a question  whether  we  may  regard  the  statue  of  Apollo  as  an  Archer, 
now  in  the  Germanic  Museum,  formerly  in  the  shooting-house  of  the 
town,  as  a genuine  work  of  Peter  Vischer,  but  the  model  and  cast  may 
be  ascribed  with  certainty  to  one  of  his  sons,  and  this  is  partly  con- 
firmed by  the  date  inscribed  on  the  base,  1532.  — [Hist.  Sculp., 
Lubke.] 


■ 


No.  1504 


V OLTAIR E 


Houdon 


Casts  from  Modern  Sculpture 


1500 

VENUS 


Original  Marble,  in  London 


H.,  5 ft.  llj  in. 


John  Gibson 

Born  at  Conway,  North  Wales,  1791;  died,  at  Rome,  1866. 


1501 

VENUS 

Original  Marble,  in  Florence 

Antonio  Canova 

Born,  in  Possagno,  Venetian  Alps,  1757;  died  1822. 


H.,  5 ft.  6f  in. 


1502 

VENUS 


Original  Marble, 


Bertel  Thorwaldsen 
Born,  at  Copenhagen,  1770;  died  1844. 


H.,  5 ft. 


1503 

CLYTIE 

Original  Marble,  in  Peabody  Institute,  Baltimore  H.,  4 ft.  11 J in. 
W.  H.  Rinehart 

Born,  Frederick  County,  Md.,  1825;  died,  at  Rome,  1874. 


1504 

VOLTAIRE  (Sitting  Figure) 

Original  Marble  in  the  vestibule  of  Theatre  Fra^ais,  Paris  H.,  4 ft.  5 in. 
Jean  Antoine  Houdon 
Born,  at  Versailles,  1741;  died  1828. 


53 


54 


Casts  from  Modern  Sculpture 


1505 

BUST  OF  VICE-PRESIDENT  THOMAS  A.  HENDRICKS 
Ulric  S.  J.  Dunbar 
Born,  at  London,  Canada,  1862. 


1506 


ALSACE  (Bust) 
Original  Bronze,  by  L.  Gregoire 

Gift  of  W.  G.  Metzerott 


1507 

MURAL  TABLET  TO  PROF.  JOSEPH  HENRY 

Original  Marble,  in  the  College  at  Princeton,  N.  J. 

H.,  7 ft.  4 in.;  W.,  4 ft.  l|  in. 

Gift  of  Miss  Henry 


1508 

THE  PURITAN  (Deacon  Samuel  Chapin) 

From  the  Original  Bronze  at  Springfield,  Mass.  Signed,  and  dated  1887 

H.,  8 ft.  8 in. 

Augustus  Saint-Gaudens 
Born  March  1,  1848;  died  Aug.  3,  1907. 

1509 

INDIAN  HUNTER 
(1864) 

Original  Bronze  in  Central  Park,  New  York  H.,  5 ft.  6 in. 

J.  Q.  A.  Ward 
Gift  of  the  Sculptor 


Casts  from  Modern  Sculpture 


55 


1510 


A STUDY  FROM  NATURE 

Ercole  Rosa 

Gift  of  Prof.  Louis  Amateis,  of  Washington,  D.  C. 


H.,  2 ft. 


1511 

HEAD  OF  ST.  JOHN  THE  BAPTIST 

H.,  1 ft.  11  in. 

Antrakosky 

Gift  of  Prof.  Louis  Amateis,  of  Washington,  D.  C. 

1512 

HORSES  OF  THE  SUN 

From  the  Original  at  Hotel  de  Rohan,  Paris  H.,  17  ft.  7 in.;  W.,  12  ft. 
Robert  Le  Lorrain 
Born,  Paris,  1666;  died,  Paris,  1743. 


1513 

HEAD  OF  GEORGE  WASHINGTON 

H.,  10  in. 

Cast  from  a mould  made  by  Clark  Mills  after  the  original  cast  in 
plaster  by 

Jean  Antoine  Houdon  (See  No.  1504) 

Gift  of  James  D.  Smith 


1514 

BUST  OF  JOHN  PAUL  JONES 
From  the  Original  H.,  2 ft.  4 in. 

Jean  Antoine  Houdon  (See  No.  1504) 

Gift  of  F.  D.  Millet 


56 


Casts  from  Modern  Sculpture 


1515 


DEATH  MASK  OF  GEORGE  WASHINGTON 

H.,  13  in. 

Jean  Antoine  Houdon  (See  No.  1504) 

Gift  of  Charles  K.  Stellwagen 


1516 
FAUNS 

H.,  1 ft.  9 in. 

Claude  Michel  Clodion 
Born  1738;  died  1814. 

1517 

BAS-RELIEF 

H.,  2 ft.  5 in.;  W.,  4 ft.  5 in. 
Claude  Michel  Clodion 
Born  1738;  died  1814. 


No.  2001 


Last  Days  of  Napoleon 


Vela 


Marbles 


2000 

BUST  OF  MR.  CORCORAN 
Ulric  S.  J.  Dunbar 

2001 

THE  LAST  DAYS  OF  NAPOLEON  I 

Height  of  figure,  5 ft.;  with  pedestals,  7 ft.  3 in.;  L.,  4 ft.  8 in., 
W.,  3 ft.  3 in.  1871 

Vincenzo  Vela 

From  the  John  Taylor  Johnston  Collection 
2002 

BUST  OF  COMMODORE  MORRIS,  U.  S.  N. 

J.  C.  King 

2003 

BUST  OF  VICE-PRESIDENT  JOHN  C.  BRECKENRIDGE 
Henry  Kirk  Brown 

Born,  at  Leyden,  Mass.,  1814;  died,  at  Newburgh,  N.  Y.,  1886. 

Gift  of  George  Taylor 

2004 

MARBLE  STATUETTE  OF  ECHO 

H.,  2 ft.  10  in. 

Larkin  G.  Meade 
Born,  at  Chesterfield,  N.  H.,  1835. 

2005 

BUST  OF  ALEXANDER  VON  HUMBOLDT 
Christian  Raugh 
Born  1777;  died,  at  Dresden,  1857. 

Executed  for  Mr.  Corcoran  at  the  particular  request  of  Humboldt. 

57 


58 


Marbles 


2006 

COLOSSAL  HEAD  OF  NAPOLEON  I 

H.,  2 ft.  4 in. 

Antonio  Canova 

A replica  by  Canova  of  his  head  of  the  colossal  statue  of  Napoleon  I, 
modelled  from  the  Emperor  at  Paris  in  1805 

2007 

STATUE  OF  A CHILD 

H.,  3 ft.  1 in. 

C.  B.  Ives 

Gift  of  Hon.  John  B.  Henderson 

2008 

BUST  OF  HENRY  CLAY 
Joel  T.  Hart 

Born,  in  Kentucky,  1810;  died,  in  Florence,  1877. 

2009 


2010 

THE  GREEK  SLAVE 

1846.  H.,  5 ft.  2 in. 

Hiram  Powers 

Born,  at  Woodstock,  Vt.,  1805;  died,  at  Florence,  Italy,  1873. 

The  Greek  Slave  was  one  of  the  first  ideal  productions  of  the  artist, 
and  it  brought  him  immediate  fame. 

2011 

GENEVRA  (Bust) 

Hiram  Powers 

This  was  the  first  ideal  bust  made  by  Powers,  and  was  executed  in 
Florence  for  Mrs.  Preston,  as  a token  of  gratitude  for  the  assistance 
given  by  her  husband  to  the  sculptor. 


Marbles 


59 


2012 

PROSERPINE  (Bust) 

Hiram  Powers 

The  pedestals  of  both  2011  and  2012  were  designed  by  Mr.  Powers. 

2013 

BUST  OF  WILLIAM  J.  STONE 
Hiram  Powers 
Gift  of  Mrs.  E.  J.  Stone 

2014 

PENSEROSO  (Bust) 

William  H.  Rinehart 
Born  1825;  died  1874. 


2015 

ENDYMION 

H.,  2 ft.  2 in.;  L.,  4 ft.  4j  in. 
William  H.  Rinehart 

2016 

SLEEPING  CHILDREN 

H.,  1 ft.  4 in.;  L.,  3 ft. 

William  H.  Rinehart 

2017 

BACCHANTE  (Bust) 

Alexander  Galt 

Born,  at  Norfolk,  Va.,  1827;  died,  at  Richmond,  Va.,  1863. 

2018 

SHAKESPEARE  (Bust) 

(A  copy) 


60 


Marbles 


2019 

THE  VEILED  NUN  (Bust) 

(A  copy) 

2020 

THE  PERI  AT  THE  GATES  OF  PARADISE 

H.,  5 ft.  5 in. 

Thomas  Crawford 

Born,  at  New  York,  1813;  died,  at  London,  England,  1857. 

This  statue  embodies  the  poem  in  “ Lalla  Rookh,”  by  Thomas  Moore. 


2021 

YOUTH  AS  A BUTTERFLY 
E.  Caroni  (Florence) 


H.,  5 ft. 


2022 

FORCED  PRAYER 
P.  Guarnerio  (Milan) 

• 

2023 

THE  FIRST  STEP 


Trombetta  (Milan) 


H.,  2 ft.  10  in. 


H.,  2 ft.  5 in. 


2024 

ISIS  (Bust) 
Green  basalt 


Original  Bronzes  by  Antoine -Louis  Barye 


Born,  at  Paris,  1796;  died  there  1875. 

“Barye  belongs  to  the  antique  in  his  knowledge  of  the  structure  of 
the  human  figure;  to  the  16th  century  for  his  power  of  grouping  his 
characters  in  such  a manner  that  from  any  point  of  view  his  com- 
position shows  to  advantage;  and  to  his  own  time  in  the  richness  of  his 
inspirations,  for  their  occasional  exaggerations,  and  in  the  romantic 
impetuosity  of  his  hunting  scenes  and  his  combat  of  animals.” 

These  bronzes  were  purchased  from  Barye  for  this  Gi 
From  No.  3000  to  3106,  inclusive. 


3000  General  Bonaparte  (1838) 

3001  Duke  of  Orleans  (1840) 

3002  Amazon,  Costume  of  1830 

3003  Gaston  de  Foix  (1833) 

3004  Charles  VII,  the  Victorious  (1839) 

3005  Tartar  Warrior  Checking  His  Horse 

With  bronze  stand,  Arabesque 

3006  Two  Arab  Horsemen  Killing  Lion 

3007  African  Horseman  Surprised  by  Serpent 

3008  Elephant,  with  Indian  Mounted,  Crushing  Tigei 

3009  Roger  and  Angelica,  Mounted  on  Hippogriff 

(1846) 

3010  CANDELABRAs(pair),  with  nine  lights,  decorated  with 

six  figures,  mascarons,  and  chimeras  (1846) 
Originals  made  for  Due  de  Montpensier 

3011  Minerva 

3012  Juno 

3013  Theseus  and  Minotaur  (1848) 

3014  Theseus  and  Centaur  (1850) 

3015  Ape  Riding  a Gnu 

3016  Two  Young  Bears  Fighting  (1833) 

3017  Bear  Sitting 

3018  Beagle  Standing 

3019  Wolf  Holding  a Stag  by  the  Throat 

3020  Two  Young  Lions  Wrestling 

3021  Lion  Devouring  a Doe  (1837) 

3022  Lion  and  Serpent  (1832) 

3023  Lion  Sitting  (1836) 

3024  Lioness  of  Senegal 

3025  Lioness  of  Algiers 

3026  Lion  Walking  (1836) 


y in 

1873. 

14 

X 

13 

14 

X 

13 

14J 

X 

14 

14J 

X 

Hi 

Hi 

X 

10 

1SJ 

X 

131 

14  J 

X 

15 

8i 

X 

10 

10J 

X 

12 

20 

X 

27 

37 

12 

12 

18 

X 

10 

131 

X 

141 

9 

X 

10 

8i 

X 

6 

5i 

X 

61 

6 

X 

81 

8 

X 

17 

8 

X 

6 

5 

X 

11 

10 

X 

12 

14 

X 

12 

8 

X 

Hi 

8 

X 

HI 

9 

X 

16 

61 


62 


Bronzes 


3027 

Tiger  Walking  (1836) 

8i 

X 

16} 

3028 

Tiger  Surprising  an  Antelope 

13  \ 

X 

24 

3029 

Tiger  Surprising  a Deer 

6} 

X 

10 

3030 

Tiger  Devouring  a Gavial  (Crocodile)  (1831) 

% 

X 

19J 

3031 

Tiger  Devouring  a Gazelle 

5i 

X 

12 

3032 

Panther  Seizing  a Stag 

15 

X 

22 

3033 

Panther  of  India 

5 

X 

101 

3034 

Panther  of  Tunis  (1840) 

X 

ioi 

3035 

Panther  Surprising  a Civet-Cat 

4 

X 

9 

3036 

Jaguar  Walking 

4f 

X 

9 

3037 

Jaguar  Standing  (1840) 

5 

X 

9 

3038 

Jaguar  Sleeping 

3} 

X 

9 

3039 

Jaguar  Devouring  Crocodile 

3 

X 

9} 

3040 

Ocelot  Carrying  a Heron 

6} 

X 

Hi 

3041 

Elephant  of  Asia  (1833) 

5 

X 

8 

3042 

Elephant  of  Africa 

5 

X 

71 

3043 

Horse  Surprised  by  a Lion  (1834) 

15} 

X 

15 

3044 

Horse,  Half-Blood.  Head  lowered 

n 

X 

Hi 

3045 

Horse,  Turkish.  Right  foot  raised 

n} 

X 

121 

3046 

Horse,  Turkish.  Left  foot  raised 

ni 

X 

12 

3047 

Dromedary,  Egyptian.  Reduction 

5f 

X 

6| 

3048 

Elk  Surprised  by  a Lynx  (1834) 

si 

X 

Hi 

3049 

Deer  Attacked  by  Two  Scotch  Hounds  (1833) 

17 

X 

21 

3050 

Stag,  Doe,  and  Fawn 

9 

X 

8i 

3051 

Virginia  Deer  Biting  Its  Side  (1837) 

10 

X 

14 

3052 

Bull  on  the  Defensive  (1841) 

7 

X 

Hi 

3053 

Bull  Rearing,  Attacked  by  a Tiger  (1837) 

9 

X 

11 

3054 

Bull  Dragged  to  Earth  by  a Bear  (1839) 

5i 

X 

11 

3055 

Eagle  Holding  a Heron 

12 

X 

121 

3056 

Crocodile  Devouring  an  Antelope 

6i 

X 

14 

3057 

Python  Swallowing  a Doe  (1840) 

3} 

X 

ioi 

3058 

Python  Strangling  a Gazelle 

6 

X 

13 

3059 

Python  Crushing  a Crocodile  (1840) 

6i 

X 

ioi 

3060 

Huntsman,  Costume  Louis  XV 

?i 

X 

7 

3061 

Bear  Overthrown  by  Three  Mastiffs  (1833) 

10 

X 

13} 

3062 

Bear  Flying  from  Three  Dogs 

12 

X 

18 

3063 

Greyhound  and  Hare 

8 

X 

13 

3064 

Wolf  Walking 

9 

X 

14 

3065 

Greyhound  Reclining 

2} 

X 

10 

3066 

Buffalo  of  Egypt 

6 

X 

8 

3067 

Camel.  Head  turned  to  right 

4i 

X 

4i 

3068 

Greyhound  Sleeping 

% 

X 

13i 

3069 

African  Badger  Robbing  Nest 

4 

X 

6 

3070 

Lion  of  the  Column  of  July  (1838).  Bas-relief 

8i 

X 

161 

3071 

Warrior  of  the  Caucasus 

7i 

X 

6} 

3072 

Peasant.  Mediaeval 

12 

X 

10 

Bronzes 


63 


3073  Leopard  Crouching 

3074  Deer  (Axis) 

3075  Deer  of  the  Ganges 

3076  Bull  Standing.  Small 

3077  Card  Receiver,  with  Fawn's  Feet 

Ornamented  with  grapes 

3078  Card  Receiver 

Ornamented  with  owls  and  panthers’  heads 

3079  Candlestick  (two  lights) 

Ornamented  with  owls  and  panthers’  heads 

3080  Candlestick 

Ornamented  with  owls  and  panthers’  heads 

3081  Candlestick 

Greek  designs,  with  Syracuse  medallions 

3082  Candlestick,  with  Fawn’s  Feet 

Ornamented  with  bell-flowers  and  serpents 

3083  Candlestick 

Ornamented  with  bell-flowers,  leaves,  and  scarabee 

3084  Candlestick.  Small,  with  handle 

Ornamented  with  ivy  leaves 

3085  Perfume-Burner 

Ornamented  with  chimeras 

3086  Paroquet  Seated  on  a Tree 

3087  Pheasant  Walking.  Head  turned  to  left 

3088  Pheasant  Walking.  Head  turned  to  right 

3089  Wolf  Caught  in  a Trap 

3090  Virginia  Deer.  Left  foot  raised 

3091  Doe  Reclining  (Dated  1840) 

3092  Fawn  Reclining  (Dated  1840) 

3093  Rabbits  (Group,  two) 

3094  Turtle 

3095  Crocodile 

3096  Candelabras  (pair),  with  three  lights,  Antique  de- 

sign, ornamented  with  serpent,  leaves,  chimeras, 
claw  feet,  and  surmounted  with  storks 

3097  Theseus  Slaying  the  Centaur  (1850) 

3098  Jaguar  Devouring  a Hare  (1850) 

3099  Leopard.  Bas-relief  (1831).  Bronze  frame 

3100  Panther.  Bas-relief  (1831).  Bronze  frame 

3101  Virginia  Deer,  with  Antlers.  Bas-relief  (1831) 

3102  Genet  Carrying  a Bird.  Bas-relief  (1831).  Bronze 

frame 

3103  Axis 

3104  Tiger  Hunt.  Water-color  sketch 

3105  Sleeping  Lions.  Water-color  sketch 

3106  Bear  Erect 


3x7 
5 x 5j 
6§  x 6j 
3^  x 5^ 
3f  x 7j 

5i  x7 

10  x 10 

7 x 3J 

10  x 4j 
9^  x 3^ 

12j  x 5j 

3}  x 4§ 

4 x 2| 

7}  x 5 
4f  x 8} 
4f  x 8i 
4 J x 5 
6j  x 6 
3j  x 5j 
1}  x 4} 
2 x S£ 

11  x 4 
I|x7j 


31* 
50  x 41 
15*  x 38 
3 x 5* 
3*  x 6* 
4x5* 

3x5 
4*  x 6* 


9f 


64 


Bronzes 


OTHER  SCULPTURES  IN  BRONZE 

3107  Bust  of  John  C.  Calhoun  H.,  25  in. 

Clark  Mills , 1850.  The  original,  in  plaster,  was  taken  from 
life  by  Mr.  Mills  in  1845. 

3108  Japanese  Yoshitaure  Vase  61|  x 26  in. 

This  vase  takes  its  distinctive  title  from  its  bas-reliefs  of  scenes 
in  the  life  of  the  Japanese  hero  Yoshitaure.  Within  the  vase  is  a 
brazen  vessel  for  fire,  and  the  perforated  upper  section  is  a censer, 
surmounted  by  the  god  Hohodermi,  who,  descending  into  Japan 
standing  on  a dragon,  introduced  letters  and  writing. 

From  the  Centennial  Exhibition  of  1876 

3109  Statuette  of  Augustus  Caesar  H.,  36  in. 

Boschetti 

3110  Bust  of  Washington  H.,  18^  in. 

Clark  Mills , 1849.  From  Houdon’s  original  bust,  in  plaster, 
1785.  Presented  by  Mr.  Mills. 

3111  Bust  of  Dr.  James  C.  Hall  H.,  22j  in. 

H.  K.  Bush  Brown,  1880 

3112  Statuette  of  a Cow  9 x 14  in. 

H.  K.  Bush  Brown , 1883 

3113  Bust  of  George  Yost  Coffin  H.,  28  in. 

Henry  J.  Ellicott 

Gift  of  Mrs.  Mary  A.  Yost,  of  Pottstown,  Penn. 

3114  The  Mountain  Man  H.,  28  in. 

Frederic  Remington.  Born,  at  Canton,  N.  Y.,  Oct.  4,  1861 ; 
died,  at  Ridgefield,  Conn.,  Dec.  26,  1909.  Painter,  sculptor, 
and  illustrator.  Silver  medal  for  sculpture,  Paris  Exposition, 
1889;  A.  N.  A.;  Member  S.  I.  Specialty:  horses  and  West- 
ern subjects. 

3115  Off  the  Range  H.,  31  in.;  W.,  20  in.;  L.,  28  in. 

Frederic  Remington  (see  No.  3114). 

3116  The  Sun  Vow  H.,  57  in. 

H.  A.  MacNeil.  Born,  Chelsea,  Mass.,  Feb.  27,  1866.  Pupil 
of  Mass.  Normal  Art  School  in  Boston;  Chapu  at  Julian  Academy, 
and  Falguiere  at  the  Ecole  des  Beaux- Arts  in  Paris.  Roman 
Rinehart  Scholarship,  1895-1899;  silver  medal,  Atlanta  Exposi- 
tion, 1895;  silver  medal,  Paris  Exposition,  1900;  gold  medal,  Pan- 


Bronzes 


65 


American  Exposition,  Buffalo,  1901;  gold  medal,  Charleston 
Exposition,  1902.  Member  N.  S.  S.;  S.  A.  A.,  1901;  N.  Y. 
Arch.  Lg.,  1902. 

The  story  of  this  group  is  best  told  by  the  following  extract 
from  a letter  written  by  the  sculptor,  under  date  of  June  15,  1905: 

“The  particular  legend  I tried  to  keep  in  mind  was  of  the 
Indian  youth  wishing  to  take  his  place  with  the  warriors,  and 
who  is  making  a test  of  strength  and  accuracy  of  aim  by  throw- 
ing the  arrow  out  of  sight  directly  in  the  face  of  the  sun.  If  suc- 
cessful he  is  ‘initiated’  and  takes  his  oath  of  allegiance.” 

3117  Jaguar  Lovers  H.,  1 ft.  2 in.;  W.,  1 ft.  6 in.;  L.,  2 ft.  6 in. 

Edward  Kemeys.  Born,  Savannah,  Ga.,  1843;  died,  Wash- 
ington, D.  C.,  1907. 

3118  Howling  Coyote  H.,  2 ft.  2 in.;  W.,  8 in.;  L.,  2 ft. 

Edward  Kemeys  (see  3117). 

THE  TWO  BRONZE  LIONS  in  front  of  the  main  entrance 
to  the  Gallery  are  copies  from  the  originals  in  marble  by  Antonio 
Canova  at  the  monument  of  Pope  Clement  XIII,  St.  Peter’s, 
Rome. 


Cloisonne 


3500  Square  Table,  with  Cloisonne  top.  16th  century 

From  the  Centennial  Exhibition,  1876 

3501  Cloisonne  Vase.  16th  century 

From  the  Centennial  Exhibition,  1876 

3502  Cloisonne  Vase.  16th  century 

From  the  Centennial  Exhibition,  1876 


H.,  20  in. 


H.,  20  in. 


3503  Cloisonne  Enamel  Dish,  representing  St.  George  and  the 

Dragon,  on  enamelled  stand,  with  pedestal  of  golden  bronze. 
(In  Case  B) 

From  the  Centennial  Exhibition,  1876 

3504  Cloisonne  Plate,  small,  enamelled  on  both  sides,  on  bronze 

stand.  Subject:  “Puck.”  (In  Case  B) 

From  the  Centennial  Exhibition,  1876 

3505  Cloisonne  Plate,  small,  enamelled  on  both  sides,  on  bronze 

stand.  Subject:  “ Puck.”  (In  Case  B) 

From  the  Centennial  Exhibition,  1876 


66 


Porcelains  and  Glass 


4000  Japanese  “Arita”  Porcelain  Vase  H.,  8 ft.  8 in. 

4001  Japanese  ‘‘Arita”  Porcelain  Vase  H.,  8 ft.  8 in. 

These  examples  of  the  ceramic  art  of  Japan  were  made  in  the 
factory  of  T.  Tawara,  at  Arita,  Japan,  expressly  for  the  Cen- 
tennial Exhibition. 

4002 

4003 

4004  Prometheus  Vase  (Majolica)  H.,  4 ft. 

Milton,  England 

4005  Majolica  Vase,  with  Japanese  decorations  H.,  4 ft. 

4006  Majolica  Vase,  with  Japanese  decorations  H.,  4 ft. 

These  two  vases,  modern  imitations  of  the  pottery  of  the  Moors, 
were  made  by  Deck,  of  Paris. 

4007  Sevres  Vase  H.,  2 ft.  2 in. 

4008  Plaque  of  Stone  Porcelain,  with  decorations  of  Poultry, 

Vegetables,  etc.  H.,  2 ft.  11 J in.;  W.,  1 ft.  4 in. 

Schopin,  Paris 

4009  Plaque  of  Stone  Porcelain,  with  decorations  of  Fish 

H.,  2 ft.  11 J in.;  W.,  1 ft.  4 in. 
Schopin,  Paris 

4010  ‘‘Arita”  Porcelain  Japanese  Vase  H.,  7 ft.;  W.,  2|  ft. 

From  the  Centennial  Exhibition,  1876 

4011  Japanese  Porcelain  Bowl  Diameter,  3 ft.;  depth,  7 in. 

From  the  Centennial  Exhibition,  1876 

4012  Engraved  Glass  Magnum  Bonum  Claret  Jug.  Subject:  ‘‘A 

Fox  Hunt”  H.,  1 ft.  4j  in.;  W.,  9 in. 

From  the  exhibit  of  John  Miller  and  Co.,  of  Edinburgh,  Scot- 
land, at  the  Centennial,  Philadelphia,  1876.  (In  Case  B) 

4013  Sevres  Vase,  with  pedestal  H.,  2 ft.  9 in. 

Gift  of  Mrs.  J.  L.  M.  Curry 

4014  Sevres  Vase,  with  pedestal  H.,  2 ft.  9 in. 

Gift  of  Mrs.  J.  L.  M.  Curry 


67 


Electrotype  Reproductions 


CASE  A 

THE  HILDESHEIM  TREASURES 

Electrolysed  by  Christofle  & Co.y  Paris 

These  are  electrotype  reproductions  of  ancient  vessels  found  on  the 
site  of  a Roman  camp,  near  Hildesheim,  Hanover. 

On  October  17,  1868,  some  soldiers,  while  digging  near  their  camp 
on  the  slope  of  Galgen,  found,  at  the  depth  of  ten  feet,  some  bits  of 
metal  that  proved  to  be  silver.  Further  search  discovered  two  large 
bell-shaped  vases  or  bowls,  inverted,  under  which  were  other  vessels 
and  fragments,  strangely  heaped  together,  the  feet  and  handles  being 
detached  from  the  vessels  to  which  they  belonged,  and  all  much  cor- 
roded by  the  infiltration  of  a wet  soil. 

They  were  restored  by  an  expert  as  nearly  as  possible  to  their  original 
condition,  and  subsequently  taken  to  the  Royal  Museum  at  Berlin. 
Theii  discovery  made  a great  sensation,  and  it  was  at  first  supposed  that 
the  original  treasures  were  part  of  the  dinner-service  of  Varus,  the 
Roman  General,  who  was  defeated  by  the  Germans,  under  Arminius, 
near  Hildesheim,  in  the  year  A.  D.  9;  but  the  style  of  some  of  the  pieces 
was  so  evidently  of  a later  date  that  the  idea  is  now  abandoned.  The 
design  and  workmanship  of  most  of  them  certainly  show  their  extreme 
antiquity. 

4180  Large  Minerva  Bowl  (Patera) 

4181  Bowl,  with  Hercules  Strangling  the  Serpents 

4182  Bowl,  with  Deus  Lunus  wearing  the  Phrygian  cap  with  horns  of 

crescent. 

4183  Bowl,  with  Cybele  with  mural  crown 

4184  Large  Drinking-Bowl  (Oxybaphon) 

4185  Drinking-Cup,  with  four  masks  of  Bacchants 

4186  Drinking-Cup,  with  six  masks  of  Fauns 

4187  Drinking-Cup,  with  ten  masks,  with  scenic  accessories 

4188  Drinking-Cup,  with  garlands 

4189  Drinking-Cup,  with  laurels 

4190  A Cup,  with  handles  of  leaves  of  acanthus  and  flowers 

4191  Egg  Dish 

4192  Salt-cellar  for  Egg  Dish,  with  carved  exterior 

4193  Saucepan,  handle  with  water-lilies 

4194  Saucepan,  handle  with  leaf  of  ivy 

4195  Saucepan,  with  handle  knotted 

68 


Electrotype  Reproductions 


69 


4196  Saucepan,  with  handle  of  palm  leaves 

4197  Ladle,  with  handle  of  palm  leaves 

4198  Ladle,  with  handle  of  ivy  branch 

4199  Salt-cellar,  with  ivy  leaves 

4200  Salt-cellar,  with  ivy  leaves 

4201  Olive  Bowl,  with  three  carved  feet 

4202  Turnip  Dish 

4203  Duck  Dish 

4204  Tripod,  base  of  a candelabrum 

4205  Support,  with  head  of  Bacchus;  part  of  a tripod 

4206  Handle  of  a Vase 

4207  Claw  of  Tripod,  with  head  of  Jupiter 

4208  Conical  Cup,  with  rude  carvings  of  animals 

4209  Large  Round  Dish,  bordered  with  foliage,  birds,  and  squirrels 

CASE  B 

Reproductions  of  objects  chiefly  in  the  South  Kensington  Museum , 
London.  Electrotyped  by  Elkington  & Co .,  Birmingham 

4210  Grand  Cup  and  Cover.  Copper-gilt.  German,  16th  century 

H.,  3 ft.  \\  in. 

Original  of  silver-gilt,  in  Gratz,  Styria 

4211  Chalice.  Spanish,  1540 

Original,  silver-gilt 

4212  Tankard.  German,  1605.  A cock  on  top 

Original,  silver-gilt 

4213  Bedford  Tankard.  Italian,  16th  century.  Triumph  of 

Bacchus 

Original  in  ivory  and  silver 

4214  Shrine  or  Cover  of  St.  Patrick’s  Bell.  Irish,  11th  century 

Original  in  copper,  gold,  and  jewels,  in  possession  of  Rev. 
Dr.  Todd.  The  back  is  silver,  perforated  with  crosses,  surrounded 
by  Irish  characters.  The  bell,  of  sheet  iron,  enclosed  in  the 
original,  is  reputed  to  be  of  the  4th  century. 

4215  Pyx  or  Pix.  Portuguese,  17th  century.  For  holding  the  conse- 

crated wafer 
Original,  silver-gilt 

4216  Tankard.  German,  17th  century 

Original,  silver-gilt 

4217  Tazza  or  Cup.  French,  17th  century.  Subject:  “Death  of 

Meleager” 

Original,  silver  gilt 

4218  Tazza.  German,  17th  century.  Silver  oxydized.  Subject: 

“Judgment  of  Solomon” 

Original  of  silver 


70 


Electrotype  Reproductions 


4219  Tankard.  German,  17th  century 

Original,  silver-gilt 

4220  Tankard.  German  or  French,  16th  century 

4221  Salt-cellar.  Italian,  15th  century 

Original,  silver-gilt 

4222  Salt-cellar.  German,  1580 

Original,  silver-gilt 

4223  Salt-cellar.  German,  16th  century 

Original,  silver-gilt 

4224  Salt-cellar.  German,  16th  century 

Original,  silver-gilt 

4225  Salt-cellar.  German,  16th  century 

Original,  silver-gilt 

4226  Inkstand.  Italian,  16th  or  17th  century 

Original,  silver-gilt 

4227  Knife.  French,  17th  century.  Gilt;  handle  in  imitation  of 

carved  ivory 

In  the  collection  of  R.  Napier 

4228  Fork.  French,  17th  century.  Gilt;  handle  in  imitation  of  carved 

ivory 

In  the  collection  of  R.  Napier 

4229  Spoon.  French,  17th  century.  Gilt;  handle  in  imitation  of  carved 

ivory 

In  the  collection  of  R.  Napier 

4230  Candlestick.  Italian,  16th  century 

Original  in  bronze 

4231  Inkstand  or  Perfume-burner.  Copper-bronze.  Italian,  15th 

century.  With  statuette  of  Hannibal 

4232  Plate.  German,  16th  century.  With  medallions  of  Emperors 

4233  Plate.  German,  16th  century.  Subject:  “Adam  and  Eve” 

4234  Plate.  German,  16th  century.  With  arms  of  Swiss  Cantons 

4235  Cup  and  Cover.  English,  1638 

Original  of  silver 

4236  Cup  and  Cover.  English:  Hall-mark,  1676 

Original  of  silver 

4237  Incense-holder.  Spanish,  about  1540-1550.  Inscribed  with 

“ Oratio  mea  dirigatur  sicut  incenswn  ” 

Original  in  rock  crystal,  mounted  in  silver-gilt 

4238  Beaker.  On  three  ball  feet.  Augsburg 

Original,  silver  parcel-gilt 

4239  Goblet.  German,  17th  century 

Original,  silver-gilt 

4240  Tankard  and  Cover.  German,  17th  century.  Man  slaying  a 

Centaur  on  top,  with  Bacchanalian  group  below 
Original  in  carved  ivory  and  silver,  by  Bernard  Strauss 


Electrotype  Reproductions 


71 


4241  Goblet  (Agate).  English:  Hall-mark,  1567 

Original,  silver-gilt 

4242  Goblet.  Russian,  17th  century.  Medallions  of  the  Seasons 

Original,  silver-gilt 

4243  Beaker.  Russian,  16th  or  17th  century 

Original  in  silver  parcel-gilt 

4244  Cocoa  Cup.  German,  1585 

Original,  silver-gilt 

4245  Augsburg  Ewer 

Original,  silver-gilt,  in  the  Louvre.  Commemorates  the  siege  of 
Algiers  by  Charles  V. 

4246  Pax.  For  communicating  the  kiss  of  peace.  Represents  the 

Virgin  giving  a vestment  to  St.  Ildefonso.  Spanish,  1540 
Original,  silver-gilt 

4247  Bottle.  In  form  of  Pilgrim’s  flask.  French  or  German,  17th 

century 

Original  of  silver 

4248  Entombment  of  Christ.  Bas-relief  after  Donatello.  Italian, 

15th  century 

Original,  in  bronze,  in  Vienna 

4249  Bowl,  with  Cover.  Arabesque 

Original  in  brass,  damascened 

4250  Bowl,  with  Cover.  Arabesque 

Original  in  brass,  damascened 

4251  Plaque.  Entombment  of  Christ.  Spanish,  17th  century 

4252  Bowl.  French,  about  1330 

Original,  silver 

4253  Bowl.  French,  about  1330 

Original,  silver 

4254  Plateau.  Italian,  1820 

Silver  oxydized 

4255  Bowl.  Arabesque,  14th  century 

Original,  brass,  damascened 

4256  Bucket.  Arabesque,  14th  century 

Original,  brass,  damascened 

4257  Nautilus  Shell.  Mounted  in  metal.  Italian,  16th  century. 

Supported  by  seated  Naiad.  Sirens  below 

4258  Ewer.  Dragon  handle,  with  Roman  subjects.  Italian,  16th 

century 

4259  Tazza.  Representing  the  Deluge.  Italian,  16th  century 

4260  Salver.  Portuguese,  15th  century.  Figures  in  high  relief 

Original  in  silver-gilt 

4261  Cup.  English,  1720 

Original  of  silver 


72 


Electrotype  Reproductions 


4262  Tazza.  Italian,  16th  century.  Classical  figures  attributed  to 

Benvenuto  Cellini 
Original  in  the  Louvre 

4263  Candlestick  (base  only).  Arabesque 

Original,  brass,  damascened 

4264  Candlestick.  Venetian,  16th  century.  Persian  or  Moresque 

design 

Original  in  bronze 

4265  Plateau.  Dutch,  about  1690 

Original  in  silver 

4266  Ewer.  Venetian,  16th  century 

Original  in  brass-gilt 

4267  Tazza  and  Cover.  French,  1851 

Original,  silver  and  jewelled,  parcel-gilt 

4268  Vase  and  Cover.  English,  1772.  A boy  on  top;  handles  of 

Satyr  heads 
Original,  silver-gilt 

4269  Mirror-case  of  Martelli  Bronze.  Italian,  15th  century. 

Allegory  of  Productiveness,  with  a legend 
Original  of  bronze,  inlaid  with  silver 

4270  Incense-burner.  Belgian,  1851.  Arabesque 

Original  of  iron,  damascened  by  Falloise,  of  Liege 

4271  Tankard  and  Cover,  in  fictile  ivory,  mounted  in  metal,  parcel- 

gilt.  Same  subject  as  No.  4240  (which  see) ; but  as  the  orig- 
inal was  of  carved  ivory,  this  is  a more  exact  imitation  of  it 
17th  century 

4272  Bowl,  with  Cover.  Arabesque 

Original  of  brass,  damascened 

4273  Bowl,  with  Cover.  Arabesque 

Original  of  brass,  damascened 

4274  Tazza.  Italian.  Silver  oxydized 

By  Lionnet,  Paris.  Same  subject  as  No.  4275,  by  Benvenuto 
Cellini 

4275  Tazza.  Italian.  Silver  oxydized 

By  Lionnet,  Paris.  Original  by  Benvenuto  Cellini,  in  the 
Louvre 

4276  Gilt  and  Oxydized  Emperor’s  Tankard 

From  the  Centennial  Exhibition,  Philadelphia,  1876 

CASE  C 

Electrotypes  by  Elkington  & Co. 

4277  Small  Shield.  Benvenuto  Cellini 

Silver  oxydized 

4278  Salver.  Italian,  16th  century,  illustrating  the  siege  of  Tunis  by 

Charles  V.  1535 

Original  in  the  Louvre,  Paris 


Electrotype  Reproductions 


73 


4279  Spiked  Shield  of  Francis  I.  16th  century 

Original  in  the  Museum  of  Artillery,  Paris.  Electrotyped  by 
Lionnet,  Paris 

4280  Helmet  of  Francis  I.  1545 

Original  in  the  Museum  of  Artillery,  Paris 

4281  Sword  of  Francis  I 

Original  in  the  Museum  of  Artillery,  Paris.  Electrotyped  by 
Lionnet,  Paris 

4282  Head-piece.  Italian,  16th  century.  Marine  genii  holding  a 

warrior’s  head,  whose  body  forms  the  crest.  Silver  oxydized 
Original  in  the  Museum  of  Artillery,  Paris 

4283  Head-piece.  Italian,  16th  century.  David  and  Goliath  on  one 

side.  Silver  oxydized 

Original  in  the  Museum  of  Artillery,  Paris 

4284  Hannibal  Dish.  German,  1567,  with  Roman  figures 

4285  Salver.  Arabesque,  with  Moresco  chasings 

4286  Salver.  Italian,  16th  century.  Arabesque 

Original  in  brass-gilt 

4287  Salver.  Venetian,  16th  century,  with  battles  and  sieges 

Original  in  bronze-gilt 

4288  Salver.  Italian,  16th  century.  Medallions 

Original  in  brass-gilt 

4289  Salver.  English,  1719,  1720 

Original  of  silver 

4290  Bowl  or  Plateau.  Moorish 

Original  of  brass 

4291  Gilt  and  Oxydized  Dish,  representing  the  months  of  the 

year 

4292  Gilt  and  Oxydized  Dish,  representing  the  months  of  the  year 

From  the  Centennial  Exhibition 

4293  Shakespeare  Dish.  Containing  medallion  of  Shakespeare, 

10  inches  in  height,  surrounded  by  scenes  from  his  various  plays 
From  an  old  repousse  plate  in  the  South  Kensington  Museum. 
Artist  and  history  of  it  unknown 

CASE  D 

4294  Shield 

From  the  Milan  Museum 

4295  Shield 

From  the  Turin  Museum 

4296  Bourgignotte  Helmet 

Museum  of  Artillery,  Paris 

4297  Cap  of  a Doge 

Museum  of  Artillery,  Paris 

4298  Shield.  French,  15th  century.  Medallions  of  David  and  Judith 


74 


Electrotype  Reproductions 


4299  Breast-plate 

Milan  Museum 

4300  Shield  of  Henry  II,  France 

Museum  of  the  Louvre,  1547-1559 

4301  Statuette  of  Henry  IV  of  France  when  a Boy 

By  Bosio.  Original  of  silver,  in  Museum  of  the  Louvre 

4302  Shield 

Museum  of  Cluny 

4303  Sword  of  the  Duke  of  Savoy 

Turin  Museum 

4304  Pieces  of  Horse  Armor 

Museum  of  Lyons 

4305  Cannon.  Renaissance 

Attributed  to  Germain  Pilon.  Museum  of  Artillery,  Paris 

4306  Axe  of  King  John,  France.  1350-1364 

Museum  of  Artillery,  Paris 

4307  Suit  of  Armor  of  Henry  II,  France 

Museum  of  the  Louvre,  1547-1559.  Attributed  to  Germain 
Pilon,  the  Sculptor 

NOT  IN  CASES 

4308  Column  of  the  Place  Vendome,  Paris 

Miniature  reproduction  H.,  5 ft.  3 in. 

4309  Suit  of  Armor,  in  nineteen  pieces.  Italian,  16th  century 

Original  in  the  Museum  of  Artillery,  Paris 

4310  The  Milton  Shield  Oval.  H.,  2 ft.  10  in.;  W.,  2 ft.  2 in. 

Reproduced  by  Elkington  & Co.  The  original  was  designed 
and  wrought  in  silver  and  steel  repousse  by  M.  Morel  Ladeuil, 
England,  for  the  Paris  Exposition  of  1867.  The  British  Govern- 
ment bought  it  for  the  Kensington  Museum  for  $15,000.  It  repre- 
sents scenes  from  “Paradise  Lost 

4311  The  Pompeiian  Toilet  Circular.  W.,  20  in. 

Reproduced  by  Elkington  & Co.,  from  the  original  work 
( repousse ) in  silver,  with  damascened  tracery  in  gold  and  silver, 
by  M.  Ladeuil 

4312  Statuette  of  the  Emperor  William  I,  of  Germany  H.,  3 ft. 

4313  Statuette  of  the  Emperor  Frederick  III,  of  Germany 

H.,  3 ft. 

From  the  Centennial  Exhibition,  1876 

4314 

4315  Knocker.  Copper-bronze.  17th  century 

H.,  1 ft.  2j  in.;  W.,  1 ft.  1 in. 
Original  in  the  Kensington  Museum.  Attributed  to  John  of 
Bologna 

4316  Statuette  of  Christ  H.,  3 ft.  5§  in. 


Electrotype  Reproductions  75 


4317  Statuette  of  John  the  Baptist  H.,  3 ft.  6j  in. 

Reproductions  by  Elkington  & Co.,  from  the  original  by  John 
of  Bologna  in  the  Cathedral  of  Pisa 

4318  Monument  to  Frederick  William  of  Brandenburg,  the 

“Great  Elector.”  1620-1688  H.,  2 ft.  2 in. 

Reduction  of  the  monument  in  bronze  by  A.  Schluter.  Berlin, 
1703 

From  the  Centennial  Exhibition,  1876 

4319  Monument  to  Frederick  II,  the  Great,  of  Prussia 

H.,  5 ft.  2 in. 

Reduction  of  the  original  bronze  work  in  Berlin  by  Christian 
Rauch,  1851 

From  the  Centennial  Exhibition 

4320  Bronze  Plaque,  “Taking  the  Guns  into  Action  at  Colenso” 

H.,  1 ft.  7 in.;  W.,  3 ft.  5 in. 
From  the  original.  Executed  by  Onslow  Whiting 
Gift  of  Alfred  Mosely,  C.  M.  G„  of  Hadley  Wood,  England 


General  Index 

Page 

Board  of  Trustees  and  Officers  3 

Note  to  the  Public  5 

Plans  of  the  Building  6,  7 

Casts  from  Antique  Sculpture 9 

Casts  from  the  Renaissance 43 

Casts  from  Modern  Sculpture 53 

Marbles 57 

Bronzes 6l 

Cloisonne 66 

Porcelains  and  Glass  67 

Electrotype  Reproductions  68 


77 


